Ostensibly a collection of Cooder's film music, the two-CD Music by Ry Cooder delivers the cinematic quality of a good soundtrack album but packs the kind of ferocious jams-featuring crack players such as John Hiatt, Jim Keltner, David Lindley, and Jim Dickinson-that you'll never hear on a John Williams score. Cooder's melancholy acoustic and electric-slide moans are a constant, though the material shifts from the plaintive piano tune "I Like Your Eyes" (from Johnny Handsome) to the border-town ballad "Across the Borderline" (featuring Freddy Fender) to the grit-and-spit stomp of "Bomber Bash" (from Streets of Fire). From cowboy serenades to contemporary exotica, from Paris, Texas to Alamo Bay, Cooder's soundtrack legacy is a strangely unified cross section of an American master's finest and most varied work. -James Rotondi.

Of all the great tenor players of the modern era, the lyrical, round-toned and rhythmically sophisticated Hank Mobley (1930-86) remains the most consistently-and unfairly-underrated. Reissued with alternate takes of the title track and trumpeter Lee Morgan's lovely ballad "Carolyn", N o Room For Squares features Mobley with two groups, both recorded in 1963. The majority of the t racks put Mobley together with Morgan, Andrew Hill (piano), John Ore (bass) and Philly Joe Jones (drums), while "Up a Step" and "Old World, New Imports" match old sparring partners Mobley and Jones with Donald Byrd (trumpet), Herbie Hancock (piano) and Butch Warren (bass). While No Room is not quite on the same level as Mobley's classic Soul Station, Roll Call and Workout albums of a couple of years earlier, there's plenty to relish in its 55 minutes, including the overall quality of Mobley's compositions and the contrast between the rubato soulfulness of "Carolyn" and the funky riff which fires his other featured composition, the sexy "Me 'N You ". Hancock has a couple of exciting, beautifully balanced outings, while Hill (soon to record more avant-garde fare on Blue Note) offers both adroit comping and several well-turned solos. As for Mobley: just listen to the perfectly sprung blend of soulful lyricism and diverse rhythmic assertiveness which distinguishes his work on both takes of the modal, medium-up title track. His solos can be spoken of in the same breath as the finest by Armstrong, Young or Parker. -Michael Tucker.

A Swingin' Affair is as perfect as records get. Sinatra sounds near to bursting with self-assurance on this 1957 release; even on the laments "I Guess I'll Have to Change My Plans" and "No One Ever Tells You", this is a Frank who's at the top of his game and isn't shy about letting you know he knows it. Nelson Riddle's upbeat arrangements are among his smoothest, and the varied programme (which also includes "Night and Day", the wiseacre "I Wish I Were in Love Again", and "I Won't Dance") makes for one of the best-conceived Sinatra concept discs. The CD also includes "The Lady is a Tramp", cut during the same sessions, as a bonus track. -Rickey Wright A Swingin' Affair! is as perfect as records get. Sinatra sounds near to bursting with self-assurance on this 1957 release; even on the laments "I Guess I'll Have to Change My Plans" and "No One Ever Tells You," this is a Frank who's at the top of his game and isn't shy about letting you know he knows it. Nelson Riddle's upbeat arrangements are among his smoothest, and the varied program (which also includes "Night and Day," the wiseacre "I Wish I Were in Love Again," and "I Won't Dance") makes for one of the best-conceived Sinatra concept discs. The CD also includes "The Lady Is a Tramp," cut during the same sessions, as a bonus track. -Rickey Wright.

Back To Back is an oddity in the Duke Ellington canon, a small-band record that includes not a single Ellington composition and only one Ellington musician, co-leader and alto sax king Johnny Hodges. The repertoire consists of seven classic blues pieces, including three from the pen of W. C. Handy, and the results of this informal 1959 session are nothing short of remarkable. The other major solo voice is Harry "Sweets" Edison, a Count Basie-band veteran who seems particularly inspired on this day. His embrace of the melody on "Basin Street Blues" shows great tenderness laced with simply perfect blues-based accents. Hodges offers a virtual lesson in how to build solos from the ground up, nuzzling the nostalgic melodies at first before adding colourful embellishments. Meanwhile, Ellington's spare improvisations and clever comping offer bold chord choices and typically idiosyncratic timing without overwhelming the basic structure and feeling of the blues. No question, a record of old standards and easygoing statements can be just as powerful as any other. -Marc Greilsamer.

One of the more woefully underappreciated blues artists of the last three decades, Taj Mahal has consistently made great records that combine his extensive knowledge of roots music with a refreshingly non-elitist sensibility. Giant Step/De Ole Folks At Home from 1969 was Taj's commercial high point, and it's easy to understand why. The first half of the album (originally released as a two-record set) features Taj and band blending rock, pop and blues on songs like "Take a Giant Step," "Give Your Woman What She Wants" and "Good Morning Little Schoolgirl. " The second half is more laid-back and down-home, with Taj essaying solo renditions of "Fishing Blues," "Stagger Lee" and "Light Rain Blues" on banjo, harmonica and acoustic guitar. The most effortlessly enjoyable record of an effortlessly enjoyable career. -Dan Epstein.