The critics jumped into Tonio K.'s corner from the beginning as he and his group garnered raves while bouncing from one major label (CBS) to another (Arista) to another (Capitol-EMI). It was a case of new album, new label, time after time. After leaving A&M, Tonio K. became a highly successful songwriter. His hits include 1993's "Love Is," recorded by both Vanessa Williams and Brian McKnight. His songs have been picked up by Bonnie Raitt, Aaron Neville, Al Green, and other denizens of the Big Time.

Gadfly Records (their web page is at www.gadflyrecords.com) has assumed the mantle of promoting Tonio K.'s work, last year releasing his final album made for A&M, a little dinger called "Ole'." The company in Vermont also has reissued the group's four earlier albums.

Humor eases the harsh evaluations of American life and politics in this collection, which doesn't have a stinker among its 19 solid songs. I particularly liked "You Make It Way Too Hard," and the audacious "Too Cool to Be a Christian." The best tune on the album is the riotous "I'm Supposed to Have Sex with You," which has a compelling hook worthy of a Billboard chart climber.

The duo of Vanessa Vassar and Axel Heilhecker (collectively known as Phonoroid) started working together on songs after he wandered into a recording studio to help her work on a project. Later she spent five months touring the U.S., collecting stories and taking Polaroids. Afterwards the two went to the recording studios and 15 days later emerged with "Too Many Frames" (Allegro CLD 9196-2).

This is slice-of-life music, bare bones in sound, with Miss Vassar's little-girl voice by turns captivating and irritating. The lyrics have the rambling quality of a Jack Kerouac story, sometimes pretentious, sometimes odd, but nearly always intriguing. Vassar says she liked the idea of working as a minimalist, and Phonoroid certainly has achieved that goal in this odd but mostly listenable debut.

One of the most impressive projects to reach my ears in months is the two-disc tribute to Ohio's greatest contribution to folk music, the tragic troubadour Phil Ochs. "What's That I Hear? The Songs of Phil Ochs" (Sliced Bread CD-SB71176)

consists of 28 of the best Ochs material performed by the cream of the crop from today's folk scene. This is powerful material, done by great artists, and should find a place in every serious listener's collection.

The artists involved are a who's who of talents, from Magpie to David Buskin, Sammy Walker to Peter Yarrow, Iain Matthews to Arlo Guthrie. Along for the nostalgic event are Tom Paxton, the incredible Roches, the fabulous John Wesley Harding, the delightful Dave Van Ronk, along with David Massengill, Katy Moffatt, and many more.

Ochs is perhaps best known for his anti-war rouser, "I Ain't Marching Anymore." His songs were very much of the era in which they were created, the chaotic times of the Vietnam Conflict and the surrounding political turmoil. Tom Paxton's version of "Draft Dodger Rag" will bring smiles, while the wonderful version of "The Bells" by The Roches will elicit a tear or two. One of Ochs' best songs, "Pleasures of the Harbor," receives a wonderful reading by Rod MacDonald. And the spectacular Peter Yarrow does full justice to "There But for Fortune," which was a hit originally for Joan Baez.

The beautifully produced package includes a 40-page insert which offers comments from the artists, information about Ochs and some wonderful color photos. "What's That I Hear" is a delight from first cut to last.

If my CD player could be compared with a radio station, you might correctly point out that the salsa band Tolu has been in "heavy rotation" for the past few days.

The great Latin musicians Alex Acuna and Justo Almario are the leading lights in the terrific album, "Rumbero's Poetry" (Tonga TNGCD 8304). Mixing elements of Afro-Cuban, Latin, Jazz and pop music into a magical montage, the basic nine musicians in Tolu produce exciting, compelling, and romantic sounds that will demand repeated listenings at top volume.

Acuna is a veteran of the recording studios, his abilities on the drums the stuff of legend. Almario does magical things with the tenor, alto and soprano saxes, even tossing in a moment or two on the clarinet. Trumpeter Harry Kim adds sizzling spice on the trumpet, while percussionist Ricardo "Tiki" Pasillas provides a magical underpinning throughout the package of ten tunes.

The album opens with a spectacular version of John Coltrane's masterpiece, "Giant Steps," which takes on new meaning with a Latin beat. Another highlight is the gorgeous old ballad, "Besame Mucho," which never sounded better than on this recording.

Even if you're not a major fan of Latin music, "Rumbero's Poetry" is special and Tolu is a great group.

One of the great memories in my life was the night I met Lionel Hampton, the great jazz master of the vibes. That meeting took place in the early 1950s and my memory stays crystal clear. I was a hanger-on in those days at a radio station in Charleston, W.Va., where a veteran d.j. conducted one of the best jazz programs ever aired.

When prominent jazz musicians came to town, they always paid a visit to the "Night Mayor" of Charleston, a tall and lean Hugh McPherson, whose personal collection of jazz albums numbered in the thousands. Lionel Hampton, then leading one of the many versions of his big bands, entered the studios with a small entourage and proceeded to talk over old times with McPherson. I sat entranced at the opportunity to be in the presence of a great performer, who had come to national prominence while working with Benny Goodman in the 1930s.

When it came time for Hampton to leave in order to make his concert appearance at Municipal Auditorium, I realized that I would be late if I had to walk from the station to the venue. Knowing my dilemma, McPherson--always the thoughtful one--asked Hamp if his limousine would have room for an extra rider. The answer was in the affirmative and minutes later I sat beside the great vibes man for a short journey to the auditorium.

Always voluble and very funny, Hamp regaled me with stories about his adventures on the road. The limo arrived all too soon at its destination and my first brush with fame (I was perhaps 18 at the time) ended all too soon.

In 1977 Hampton and a great collection of jazz players assembled in Toulouse, France to record an album just re-issued. "Lionel Hampton '77 Vintage" (Black & Blue BB 870.2 ND215) contains 11 songs, mostly standards, played by a talented group of performers.

Cat Anderson, who achieved renown for his stratospheric notes while long a member of the Duke Ellington organization, does some tasty work here. The wondrous master of the Hammond B3 organ, Milt Buckner, plays an important role on this session. The always excellent Frankie Dunlop is at the drums for all but two cuts, when Hamp himself takes over the kit.

There's nothing here that's particularly memorable, and Hampton's work is even more spare than usual. But the album will delight longtime Hampton fans. And it certainly delighted me.

Bob Powers seeks the help of independent record companies. He's interested in receiving new releases in any genre (no classical, though). For information on sending promotional materials, contact Bob by e-mail at rpowers@ee.net