Trumpeter John Swana leads his Philly Gumbo session under the name "John Swana and the Philadelphians," a knowing reference to a 1958 album by Benny Golson. Fittingly, the record showcases a number of excellent straight-ahead players who aren't widely known outside of Philadelphia: tenor saxophonist Bootsie Barnes, pianist Sid Simmons, bassist Mike Boone, and drummer Byron Landham. The mostly original music is solidly within the hard bop tradition. Boone contributes a fine piece called "Old Head" and collaborates with Swana on the ballad "John Wayne," which is named for John Coltrane and Wayne Shorter. Other highlights include the medium-fast "Up Jumped Bootsie" (loosely based on Freddie Hubbard's "Up Jumped Spring") and the rubato finale, "Tot Ziens," an out-of-character trio feature for the leader on fl�gelhorn. Swana's frontline rapport with Barnes is exceptional, and his horn is consistently spry and insightful. ~ David R. Adler

The album's theme is referenced in the title: the "seven energies" of the universe derived from the Jewish Torah. As with Perelman's other recordings to date, this one is jammed with ecstatic energy, the highlight being the more than 20-minute "Fruition," in which the saxophonist packs his usual full-throated voice with a monumental punch. The unsung pianist Joseph Scianni, although not as intense as Perelman, offers a sophisticated and complex harmonic conception, one alternately romantic and cryptic, which fits perfectly. Longtime colleague Jay Rosen continues his successful synergistic relationship with Perelman, with unobtrusive yet propelling drumming. Each of the tunes is named after one of the "seven energies," and the last two in particular, "Femaleness" and "Endlessness," reveal a more subdued side to the saxophonist's playing than he usually shows. While this album does not break any new ground, it continues the consistently high quality of musicianship that Perelman has always evidenced. It may not attract converts to his music, but it should easily satisfy the already committed. Added bonuses are the beautiful reproductions of two of the saxophonist's pieces of abstract art in the CD leaflet, and the probing liner notes by art critic Eleanor Heartney. ~ Steven Loewy

One of David Kikoski's strongest offerings, Inner Trust is a departure in that it focuses primarily on non-original material. Three of the ten tracks are by the pianist, but the rest are standards and jazz classics. Joined by Leon Parker on drums and fellow Roy Haynes sideman Ed Howard on bass, Kikoski reaches consistently grand heights of harmonic invention on burning numbers like "Softly, as in a Morning Sunrise" and John Coltrane's "Some Other Blues." "Winnie's Garden," a Kikoski-penned workout over the chord changes to "Sweet Georgia Brown," practically overflows with energy. And Thelonius Monk's "We See" swings with almost comic cleverness. On the softer side are "You Don't Know What Love Is," "Old Folks," and the unaccompanied "Once Upon a Summertime." "Two Lonely People," a little-known song composed by master pianist Bill Evans and once sung by Tony Bennett, is also noteworthy. Of the two remaining originals, "Mirical" is mannered, but the title track is one of Kikoski's finest achievements -- a simple, stately melody that serves as a launching pad for bold and impassioned improvisation. (A version for quintet can be heard on Roy Haynes's Praise.) ~ David R. Adler