Bob Powers

MARIETTA, OH, USA - Marlena Shaw isn't one of those singers whose name brings instant recognition. She doesn't compete with the hip-hop band called Outkast, or isn't as well known as Norah Jones, a current hot name in the singing fraternity or such smash chanteuses from a decade or two ago, such as Natalie Cole. However, Marlena Shaw can send chills up and down your ear lobes when you listen to her new album, "Lookiní for Love," which sits high atop my list of the best CDs of 2004.

Shaw, who's enjoying renewed success with her last two recordings, lives in Las Vegas, which is three hours behind Marietta, Ohio, where this scribbler resides. But in making arrangements for this interview she said it would be best to phone her at 1 p.m. my time, and that's an early 10 a.m. for this veteran performer.

She sounded as chipper and wide awake as if she had been waiting eagerly for my call from sunny Ohio. You must remember that show biz workers can sometimes burn lots of midnight oil. Rising at 5 p.m. Eastern time wouldn,t have surprised me. But Marlena wears surprises by the grocery sack. Ego seems refreshingly absent in her conversation.

I knew she'd have a good sense of humor when she told me by e-mail that she'd look forward to my call "with breathless anticipation." When I identified myself, she seemed as friendly and happy as someone planning to go shopping after her husband told her to "Buy anything you need, dear."

Almost 15 minutes passed while we talked like two old friends, eager for a complete dip into the wonders of human conversation. We wound up another ten minutes later (I promised the interview would last no more than ten minutes total, but she seemed in no hurry, although she did say that she had an appointment with her accountant that morning, too.)

Married for 22 years to a hulking 6-4 husband named Hefner who tops the scales at 250 pounds, she is quick to put down my question asking if he was related to the Hugh Hefner, founder of the Playboy magazine empire. "Although I suppose there might be a tie in the family somewhere," she said, with a laugh coloring her husky and deliciously inviting voice.

Marlena is the proud mother of five children and she has seven grandchildren ranging in age from 21 to 6. She said that the girls fussed at her recently when on an appearance she talked about them as grandkids instead of "grand girls."

Shaw's long career includes a successful vocal recording of Cannonball Adderley's jazz classic, "Mercy, Mercy, Mercy," which receives a new and deliciously blues reading on the current CD. "Lookiní for Love" was recorded a year ago at the Sony Music Studios in Tokyo, some months after her "Live in Tokyo" CD received glowing reviews and satisfying sales.

Pianist David Hazeltine, one of the good ones in jazz, has been Shaw's accompanist for more than a decade and she lauds him for his work in making the new release such a solid effort. The choice of songs for the album is impeccable, showing a sharp sense of what are Shaw's strongest points, even though one can't imagine that she could do less than excellent work on any ordinary song from Tin Pan Alley.

Shaw shows superior intelligence in interpreting songs, and she demonstrates that precious ability in every cut on the album. Opening with the brilliant comment on the state of today's planet we call home, "Hope in a Hopeless Word," she launches a ride that will take fans from one strong interpretation to another. Other goodies in this hour of special pleasures include Billy Joel's "New York State of Mind," the lovely "For All We Kn ow," the bouncy but romantic "Just the Two of Us," and the stirring closer, "You Don't Know What Love Is."

Her voice shows a maturity that is stunning, but never reveals any indication of a move toward less than special feelings for the lyrics she seemingly so easily sings. To hear Marlena Shaw is a lesson in modern music at its finest, a pleasing and emotionally moving venture into the worlds of jazz and the blues, fitting them together with ease and the knowledge of long experience. She's simply wonderful and we can only hope for much more in our future by the effervescent Shaw.

Four years on the road with the fantastic Count Basie orchestra taught Shaw a lot about show business and music. Basie, reserved and seemingly near a nap while sitting at the keyboards before a packed theater, could deliver some of the finest jazz ever recorded. And he didn't regard himself as someone above his musicians. Basie, who could have just as easily flown to each date, instead chose to ride in the often uncomfortable bus that carried the band from one show to another all across America. Four years of witnessing the actions of Count Basie almost nightly taught Shaw much about the right way to operate an efficient and demanding band with a sly combination of leadership and musicianship. Count Basie for decades roamed the land as one of the best ever. His student, Marlena, learned much in her quartet of years as part of the Basie organization.

I could have talked with Marlena for hours, and I suspect she might have gone along, as gracious as she was, even with that accountant cooling his heels in her home on a cloudy and not-so-steamy morning in the queen city of gambling, show biz and a good time.

Give Marlena's "Lookiní for Love" a spin. While you're in the record shop, ask for a copy of "Live in Tokyo," too. You won't be sorry.

Listen Up! New Releases Abound

Bobby Watson has too long stayed in the shadows of acknowledged great alto sax performers, and it's high time he get the recognition he deserves. That could happen with his new CD, "Horizon" (Palmetto Records).

Watson has been around awhile and reviews on previous albums have been impressive, but to my knowledge he's never reached star status, though "Horizon" demonstrates that he's got all the necessities, making his sound one of the most pleasant and often exciting that will strike your ears in awhile.

Backed with such strong talents as Terrell Stafford, a great trumpet soloist, Edward Simon on piano, Essiet Essiet on bass and the impressive-as-always Victor Lewis behind the drums, the band delivers a tuneful collection of jazz on the modern side, with five Watson originals supplying much of the set's enjoyment.

Watson used the name Horizon for a band he led in the 80s, and it's fun to have such an accomplished group of talent working together with ease and proficiency.

Hank Jones Soars

I've loved the piano magic of Hank Jones for decades and he's still got the touch, as deftly shown in his newest album, "The Great Jazz Trio" (441 Records) shows the resourceful and smooth Jones working at the pace that would tire a teenager. Ever young in his performances dating back decades, Jones retains the grace and combines with a rhythm touch that's infectious.

The album opens with "Autumn Leaves" and moves through such goodies, old and new, as "Yesterdays," the Jerome Kern classic, Kenny Dorham's fine "Blue Bossa," along with such doozies as Gershwin's "Summertime" and Ellington's "Caravan." Rounding out the album are Oliver Nelson's "Six and Four," Richard Rodgersí "My Funny Valentine" and Ray Henderson's perennial, "Bye, Bye Blackbird." The staff at 441 Records are churning out music that's just plain wonderful, including Hank Jones' great little album here, and the aforementioned brilliance of the sensational Marlena Shaw, long overdue for another huge hit.

What a Great Idea!

The person who came up with the idea for "Dick Hyman and Tom Pletcher: If Bix Played Gershwin" (Blue Note Jazz) should receive some sort of important reward. This is a great, great release, a combination of seven accomplished players on arrangements that are done (no surprise after reading the CD title) in the style of the great Bix Beiderbecke, one of the great jazz horn players of the 20th century and the incomparable George Gershwin, whose music should live forever. There are a bountiful 18 tracks on this stunning release, which should keep advocates of old-time jazz smiling for months to come. Outstanding!

Cobb's Mob, Yeah!

While I'm writing about just great music, don't miss listening to "Cobb's Groove" (Milestone) a true zinger from the excellent Jimmy Cobb's Mob. Drummer Jimmy Cobb leads his troops that include pianist Richard Wyands, guitarist Peter Bernstein, bass player John Webber and as guest performer the sparkling sounds of tenor sax pleaser Eric Alexander. The latter keeps showing up on numerous CDs, his own releases and sitting in for others, demonstrating that he should be counted as one of the top tenor men working today. Produced by the always reliable Todd Barkan, formerly of my old stomping grounds in Columbus, Ohio, Barkan has been one of the best producers in jazz for too long to count. The result is music that the album cuts include mostly tunes written by band members, along with some dilly good songs from talents such as Frank Foster, and Steve Sattan. Buy this one if you like new material played by large talents.

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