The father and eldest son of jazz's first family team up here for a dozen-plus tracks of piano and saxophone duets. Romance is the theme on a program of standards, all of which have women's names in the title: Bernstein/Sondheim's "Maria," Cole Porter's "Miss Otis Regrets," Ellington's "Angelica," Gershwin's "Liza," et. al. There is a lot of pretty playing here, but the eight-minute "Bess You Is My Woman" is downright steamy and sultry.

ELEANOR MCEVOY

The classically-trained, Irish singer-songwriter Eleanor McEvoy handles vocals, guitar, keyboards and violin on her band's sophomore effort, co-produced by Kevin Moloney (U2, The Nields). Her songs variously take on the sharp pain of a breakup ("Whisper a Prayer to the Moon," "A Glass Unkissed"), religious hypocrisy ("Precious Little") and betrayal ("Sleepless"), alternating between highly-charged pop and moody ballads that betray McEvoy's Celtic background in an effort that recalls the Cranberries, U2 and R.E.M.

KRIS MCKAY

Kris McKay has such an original way with a song that if you didn't listen too closely you could easily mistake songs by Joan Armatrading, Matthew Sweet, the English Beat and Son Volt for those of her own. That McKay's four original tunes on this album -- her follow-up to 1990's "What Love Endures" -- blend so well with the seven others by her better-known counterparts is to her credit both as a songwriter and as a performer. A product of Austin's fertile scene in the mid-'80s, McKay boasts uncanny pop instincts and a versatile vocal style full of heartland soul.

RALPH MCTELL

A virtual unknown here, McTell is a legendary singer/songwriter in his native England, not the least for his "Streets of London," included here, which has been recorded over 200 times. This essential primer, collecting 16 tracks spanning his 30-year career, should rectify the situation, as it displays McTell's mastery of his narrative craft. A contemporary of Cat Stevens and the early English folk-rockers -- many of whom help out here, including Richard Thompson and members of Fairport Convention and Fotheringay -- McTell was equally influenced by Anglo-Irish ballads and American roots music (he named himself after American bluesman Blind Willie McTell), and his songs tend to dramatize slices of working-class life. After hearing this, you'll never be able to listen to Mark Knopfler or Sting without hearing McTell in their voices and songs.

JOHN MELLENCAMP

John Mellencamp (Columbia)

What with the Biblical references strewn throughout songs that preach traditional family values and the cross around his neck on the cover photo, it's tempting to see John Mellencamp's newest album as his very own "Slow Train Coming." It's not quite that focused, and seems to represent more a declaration of independence on Mellencamp's part -- independence from his former record company, from the music business in general, and from trend-hopping. The hip-hop excursions of recent efforts are toned down, and some of the tunes invoke Indian touches which don't always make sense, but this is probably Mellencamp's rootsiest and most personal effort in ears.[ 10/11/98 ]

LYNN MILES

Slightly Haunted (Philo)

This debut by this heretofore unknown Canadian singer- songwriter instantly propels Miles to the top of the female new-folk pantheon, where her incisive, straightforward lyrics and her naked, yearning vocals sit comfortably alongside the likes of Shawn Colvin, Dar Williams and Barbara Kessler. Producer Jeffrey Lesser has surrounded Miles with tasteful, folk-pop production that never overwhelms her vocals or her 11 original compositions, each in some way about different aspects of love, all somehow, as the title says, slightly haunted.

MIMI

Soak (Luaka Bop/Warner Bros.)

Shards of Mimi Goese's icy, Laurie Anderson-like vocals cut through the dense, electronic soundscapes laid down by avant-garde producers Hahn Rowe and Hector Zazou, making for a sharply suggestive contrast and echoing the implied tension of her lyrics of emotional density and isolation. The former lead singer/co-songwriter of the '80s punk-pop group Hugo Largo turns in a stark, shimmering, dissonant, at times beautiful song cycle - an otherworldly, electronic opera, perhaps. [09/06/98]

JONI MITCHELL

Taming the Tiger (Reprise)

There's nothing like a little anger and disgust to inspire Joni Mitchell to new heights of passion. On feminist anthems like "Lead Balloon" and "No Apologies," Mitchell gives Ani DiFranco a run for her money, and the title track is a vicious indictment of the record business ("The radio blared so bland....Formula music, girlie guile, genuine junkfood for juveniles"). Mitchell's production is gorgeous, and she continues to break new sonic ground in her use of textured guitars and keyboards. And saxophonist Wayne Shorter finds the perfect pitch to complement Mitchell's sax-like vocals. Another great outing from one of the all-time greats.[ 11/29/98 ]

ALANIS MORISSETTE

Supposed Former Infatuation Junkie (Maverick/Reprise)

The variety of styles (contemporary electronic, hard-rock-meets-"Ave Maria," LilithFair folk-pop) on display here doesn't match the one-note nature of the songs themselves, 17 whiny numbers that recall Michael Jackson at his most paranoid and self-obsessed. Morissette's idea of emotional insight ranges from "Are you still mad I had a tendency to mother you?" to "Are you still mad I wore the pants most of the time?" Chances are she'll connect big-time with a nation of 14-year-old mall girls. Someone get this girl a chat group.[ 12/13/98 ]

BILL MORRISSEY

You'll Never Get to Heaven (Philo)

This album kicks off with Morrissey's vintage acoustic guitar strumming and his unmistakable talk-song growl, but it's not long before you're set down in new territory: swinging rhythms, saxophones, some Memphis- style guitar. Recorded in New Orleans and taking advantage of some of the best sessionmen that city has to offer, the dozen songs within cement Morrissey's reputation as the premiere neo-realist songwriter of his generation.