Jeremy Monteiro has recorded around twenty albums in two decades, yet surprisingly this is the pianist’s first offering of entirely original compositions in fourteen years. They confirm, however, what anyone who has seen him in concert already knows: firstly, that he writes sensitive, well-crafted tunes, and secondly, that as a pianist he is at the top of the tree.

Ably supported by his regular trio members, Syracuse, New York drummer Shawn Kelley and Melbourne bassist Belinda Moody, and augmented by the muscular tones of sax legend Ernie Watts, Monteiro leads the way through a wonderfully rich and varied set. The first two tracks feature Greg Fishman, who plays a jaunty tenor on the striding “Jazzybelle’s Shuffle and flute on the Latin “Samba Apassionata. The latter track is dedicated to the late Edmond Branson, Jr., a leading drummer on the Singapore scene.

The tempo remains upbeat on “The Bubala Dance, where Watts adds his fireworks to the proceedings. This is the first of two songs co-written by Monteiro and Watts, who first collaborated almost twenty years ago, and the affinity between them is apparent. The other Monteiro/Watts number, “Remember, is a soulful, meditative piece reminiscent of Wayne Shorter’s “Infant Eyes. Belinda Moody, an original voice, shines through on a short yet tasteful bass solo.

One of the highlights is “Inner Voice, in which both Monteiro and Ernie Watts solo elegantly and powerfully. It is a fine study in the art of tension and release. The title track, “Homecoming, highlights the talents of drummer Shawn Kelley and soprano player Ernie Watts. This jubilant calypso is very much in the mould of Sonny Rollins’ “St. Thomas and no less enjoyable.

Monteiro succeeds in mixing up the pace and mood of the songs, and one of his strengths as a leader lies in the space he allows his partners. On “Lorna’s Kitchen,” co-written by bassist Eldee Young, each member of the trio takes his turn in the spotlight, racing along together at a rattling pace. The album closes with Monteiro and Moody’s glorious, understated “Blues For Ray, dedicated to the late Ray Charles. The playing on this blues piece is almost respectful, with Monteiro and Moody soloing in beautifully restrained manner over Ron Feuer’s Hammond C3 Organ. A burst of gospel-style piano at the end concludes a fine tribute to the great man.

Some may have thought that when Claude Nobbs invited Jeremy Monteiro to play Montreux in 1988, the Singaporean pianist had had his day in the sun. On the evidence of this delightful album, maybe his day in the sun is yet to come.

This is a splendid CD: serene and soulful, sunny and soothing. Now I’ll get my “ess”es out of here and go into some more detail.

Two for Brazil is a long-term collaboration between reedman Greg Fishman and guitarist/vocalist Paulinho Garcia. They have about six CDs by now, two of them reviewed at AAJ. At first, their pairing of a sensuous sax with delicate Brazilian guitar and soft vocals are reminiscent of the famous Getz/Gilberto pairing in the ’60s. (As it happens, Fishman has written three books of Getz transcriptions, and his sound is much like Stan’s, but with less breathiness and more fluidity.)

The more you listen, however, the less like the classic duo they sound. Aside from the obvious lack of bass, piano and drums (which are not missed), Two for Brazil’s rhythms are more varied, incorporating Latin influences beyond the samba and bossa nova. Moreover, Garcia’s singing is more tender than Gilberto’s, and Fishman plays a luscious, cool flute as well as tenor; together they can swing like mad, or move you into an Alpha state with their luxuriant ballads. And while they interpret Jobim beautifully, they also cover a wider range of material, including other Brazilian masters, past and present, jazz standards, and even—on this new release—Sting, whose haunting “Fragile” lends itself nicely to a tropical beat.

Also new here (thus making it Three for Brazil) is the presence of Grazyna Auguscik, the terrific Polish singer whose 2001 River CD made something of a splash. (Yes, I know.) She has toured with Fishman and Garcia in the Far East, where Two for Brazil is are hugely popular. Auguscik’s voice is pure and true, with just a hint of smoke and sex; she’s a perfect harmonic complement to Garcia (their duo scatting is wonderful), as the two of them freshen up classics like “One Note Samba,” “Mas Que Nada,” and “Girl from Ipanema,” which I thought I’d never want to hear again in my lifetime, but which is rescued from its elevator incarnation by this trio. On the ’60s hit “Summer Samba,” you realize what a nice tune it really is when Fishman’s sultry sax and the grown-up voices remove all the Nutrasweet.

In fact, whatever the trio does, they make it sound utterly new—or maybe they just take the music down to its heartfelt essence. A special note of appreciation for Garcia’s English lyrics to “Manha Do Carnaval” (aka “Theme from Black Orpheus” and, most regrettably, “A Day in the Life of a Fool”). Garcia once told me that he didn’t think people in love were fools at all; his words to this beautiful song are even more romantic without the bitterness of the Sinatra version.

Although the songs are varied in mood and tempo, with some rare Brazilian gems among the favorites, you will never have to leap to the “forward” button. You can safely settle in with Homage for nearly an hour of relaxing, tasteful, masterfully-rendered music.