Bill Cunliffe: "Bill Plays Bud" (Naxos)

Another notable release for the Naxos budget label release is this savoury tribute from a gifted jazz pianist to one who was a genius. Although Cunliffe lacks Bud Powell's relentlessly creative intensity, he's an exceptional bop player, with abundant technique and the imagination to respond effectively to Powell's material. There's excellent support from drummer Joe La Barbera, a remarkable bassist, Dave Carpenter and, on two tracks, tenor saxophonist Ralph Moore. Despite the impression that Cunliffe's playing on Powell's Un Poco Loco is more a series of brilliantly executed gestures than a wellargued solo and that Sure Thing is a bizarre collision of manner and content, there is much to marvel at, including an outstanding Tempus Fugit and superb interpretations of Willowgrove, Glass Enclosure, Borderick and, with Moore, 52nd Street Theme and Polka Dots and Moonbeams.

By Ray Comiskey

Sonny Stitt: "Constellation" (BMG Camden).

Sonny Stitt/Lou Donaldson: "Keepers of the Flame" (BMG Camden) This pair of budget-priced double CDs should be considered as a set, since they contain much of Stitt's high calibre 1970s work for the Muse label, and Donaldson's Parker-inspired alto inhabits the same area of style as Stitt. Constellation has four complete Stitt albums - Blues For Duke, Mellow, My Buddy and Sonny's Back - which place Stitt (on alto and tenor) with just a rhythm section, although he's joined by saxophonists Jimmy Heath and Ricky Ford on one each. The second double - oddly - features Stitt's Constellation and Tune Up for Muse, along with Donaldson's Sweet Poppa Lou and Back Street. Enjoyable though the Donaldson albums are, it's Stitt, in sublime form, who is the real attraction on all four CDs.

By Ray Comiskey

Derek Nash: "Setting New Standards" (Jazzizit)

Away from the competitive cavalry charges of his own group, Sax Appeal, composer, arranger and saxophonist (soprano, alto, tenor, baritone) Nash takes an altogether more lyrical, gently ruminative jog through 10 pieces written by himself and his father, Pat. Essentially conservative - there's nothing here to frighten the horses - the approach is one of solid craftsmanship and good taste, the priority being songs whose raison d'etre is a marriage of melody and good changes. The others - Graham Harvey, Alec Dankworth and Ian Thomas on piano, bass and drums adapt beautifully to Nash's requirements.

By Ray Comiskey