Mindi Abair's Stars, her Peak Records debut, showcases her trademark hip and edgy instrumental sound and includes more original vocal tracks than ever before.

Over half a decade after Abair broke onto the smooth jazz scene with her hit debut It Just Happens That Way, she's still an A-lister for summer and winter tours, festivals and cruises, has her own syndicated radio show "Chill With Mindi Abair" and recently went international with her first concerts in Istanbul and Romania.

Fans across the country can't get enough of her jamming stage show or the way she textures those cool "da da" vocals with her blazing sax on the #1 airplay hits that established her, "Lucy's" and "True Blue." (Download the free song "On and On" and see for yourself.) Stars offers that vibe on the first instrumental single "Smile," but Peak is simultaneously promoting her powerful vocal title track to AC radio. While keeping her core fans excited as ever, this cool two-fisted marketing approach is aimed at establishing as a distinctive new voice in a new generation of singer-songwriters.

She's been working towards this breakthrough a long time, doing pop tours with Adam Sandler, Duran Duran, Josh Groban and even The Backstreet Boys on their famed Millennium tour back in 1999-2000. Before immersing herself in contemporary jazz and becoming one of its true icons, she was even shopping demos of pop songs, aiming for a deal as a singer-songwriter. With her new album, she no longer has to reach for the stars. She's got the best of both worlds.

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Esperanza Spalding defies classification. Her debut release Esperanza showcases the bass player's unique blend of sounds and rhythms, all accompanied by her fluid vocals echoing great songstresses like Ella Fitzgerald.

Raised by a single parent in a multi-lingual home, Spalding's influences run the gamut -- from hip-hop to blues to jazz. The result is an ethereal mix that sounds both worldly and nostalgic, like the works of jazz greats such as Miles Davis or John Coltrane. There are even a few tracks that call to mind the more eclectic works of lounge master Les Baxter.

When it comes to her voice, the word "siren" shows up a lot in stories about Spalding. That's because her voice has elements of seduction, power, grace, beauty and timelessness. With a classic style, she definitely could go toe-to-toe with any veteran Jazz vocalist, whether in a massive theater or intimate piano bar.

At just 23, the Berklee grad has already worked with Michel Camilo, Stanley Clarke, Pat Metheny, Patti Austin and Joe Lovano. Like with her upbringing, she infuses elements from these artists into her own work, creating something truly original. With the release of Esperanza, which comes out May 20 on the Heads Up label, she is leading the way down a new musical path.

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The title of Marion Meadows' most recent Heads Up release Dressed To Chill is sharply appropriate considering that the veteran saxophonist has long been one of smooth jazz's most stylish performers.

At festivals, clubs, winery dates and at sea aboard some of the genre's popular all-star cruises, Meadows is the dapper Dan onstage flipping those cool dreadlocks and wearing snappy suits and close fitting T-shirts that -- much to the delight of his thousands of shrieking female fans -- hug a muscular body sculpted by hours on the road as a semi-pro bicyclist in his adopted home in Phoenix. Meadows belonged to a Scottsdale based team called Bicycle Ranch, which competed at races in Arizona, New Mexico, California and Utah. Most of the races were 70-100 miles long.

As on his previous two label recordings In Deep and Player's Club, one of Meadows' secret creative weapons on Dressed To Chill was his exciting melodic and groove intensive collaboration with another Phoenix based musician, keyboardist Michael Broening, a founding member of the popular fusion band Turning Point. The West Virginia born, Connecticut bred saxophonist first met Broening when they worked with popular Phoenix singer Khani Cole.

Highlights that will leave you chillin' with this popular disc include the up-tempo title track; the understated, soprano and tenor driven "Remember Me" (featuring guitarist Chuck Loeb); the Spanish vibin' "Scent Of A Woman"; Meadows' use of bass clarinet on the atmospheric "To Love Her"; and a lush cover of R. Kelly's "I Believe I Can Fly."

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A few months back, when this blog covered Eric Marienthal's latest Peak Records recording Just Around the Corner, the jottings began with a mention of the saxophonist's insanely busy and diverse contemporary, fusion and straight ahead jazz itineraries. His sideman schedule was just as varied and frenetic when he released his second Peak release Sweet Talk in 2003.

Over the previous two years, he had performed as a special guest with his labelmates The Rippingtons. Between Ripps dates, he also did a European jaunt with Chick Corea's then recently reunited Elektric Band -- which Marienthal originally played with from 1987 - 1995. He added extra frequent flier miles by venturing out of the confines of the Southern California studio scene and recording most of Sweet Talk in New York City.

While the collection features collaborations with West Coast musical friends like Jeff Lorber and fellow Rippington Dave Kochanski, producer Jason Miles hooked up Marienthal with Big Apple jazz cats who had long been at the top of the saxman's fantasy band list, including guitarist Chuck Loeb, bassist Will Lee, guitarist Dean Brown and drummers Chris Parker and Gene Lake (from David Sanborn's band).

Sweet Talk features a previously unrecorded composition by legendary Brazilian singer/songwriter Ivan Lins, "Caprichosa," with Lins himself on vocals that were recorded in Rio De Janeiro. Another key vocal contribution came from onetime Peak artist Cassandra Reed, who added a rich, soulful spark to a sizzling funk jam version of the Stevie Wonder-penned Rufus classic "Tell Me Something Good."

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