IMPRESSIONS

Chris Botti (Columbia)

Few trumpeters have the tonal quality and talent of Chris Botti. But what really puts Botti in the most elite class of musicians is his ability to communicate through music, not just do a fine job of playing notes.

"Impressions" is the latest of several albums in which Botti hits listeners in the gut and takes them on his own unique musical journey. His strength comes not from muscle, power, or uptempo rhythm, but from the grace and beauty of his no-frills, bare-your-soul passion.

This disc in particular, a diverse collection of romantic melodies featuring the works of anyone from Frederic Chopin to George Gershwin to R. Kelly, is filled with a sense of bold tenderness, something that is heartfelt but not lame. The set has its moments of classical, opera, Latin and traditional jazz, tango, pop, and even a memorable take on a familiar show tune, "Over the Rainbow."

Former Dire Straits frontman Mark Knopfler does a sweet rendition on vocals of the song Louis Armstrong popularized, "What a Wonderful World." Country singer Vince Gill does an amazing take of Randy Newman's "Losing You." Tenor Andrea Bocelli also is featured, as is jazz keyboard icon Herbie Hancock.

-- TOM HENRY

GETS OVER YOU

The Right Now (The Right Now)

Something's been missing in the recent revival of soul music: the band.

Remember that Chicago soul sound in the 1970s? It was Curtis Mayfield and The Impressions. The Right Now, which also hails from the Windy City, hasn't forgotten.

While lead singer Stefanie Berecz's voice is powerful, she is savvy enough to share the spotlight with a sensational six-piece band -- Brendan O'Connell (keyboard, guitar), Chris Corsale (guitar), Greg Nergaard (bass), John Smillie (drums), Jonathon Edwards (bari sax), and Jim Schram (tenor sax) -- which provides the glue and the groove for 11 tracks on their sophomore album.

"Gets Over You" features several fictional female characters ready to exact the score from a cheating lover. She's heard every excuse in the book and like on "Half as Much," the album's best song, Berecz sings, "It takes a man to admit that it's over, but if you can't, I can do it for sure."

In "Call Girl," a fun disco-esque guitar riff echoes throughout as the main character struggles with her lover's shortcomings but still wants him to pick up the phone and call her.

The fast-paced "I Can't Speak for You" warns others her cheatin' man will do the same to them, all while Berecz and the band have fun with the funky beat.

Good times are the key here, with the upbeat horns and the bouncy bass belying the protagonist's pain. But like on "Good Man," she's "never met a good man, one who understands this woman's ways."

-- BOB CUNNINGHAM

BLUNDERBUSS

Jack White (Third Man)

Jack White works best when someone can bounce the best of his manic musical ideas back at him.

That explains his impressive run of collaborators of the past decade from White Stripe Meg White to Dead Weather's Alison Mosshart to the country royalty of Loretta Lynn and Wanda Jackson. For "Blunderbuss," White's first solo album, he might be working alone, but he certainly seems driven by someone, or several someones.

"Blunderbuss" is filled with anger at people, mostly women, who are untrustworthy and mean. "You took your time talking trash, now you're trying to bring your garbage to me," he announces in the Louisiana-tinged kiss-off "Trash Tongue Talker." The White Stripes-ish "Sixteen Saltines" packs jealousy and put-downs in with the bash-it-out guitar riffs. He sings both sides of a painful fight in "Hypocritical Kiss," the lovely piano runs disguising the harshness of the lyrics. "You would sell your own mother out," White seethes. "And then betray your own brother with another hypocritical kiss."

Even when White is trying to be positive, it comes out dark, declaring, "I want love to roll me over slowly, stick a knife inside me, and twist it all around," in "Love Interruption," which makes the "Son of a Preacher Man" vibe feel far more desperate.

"Blunderbuss" only gets darker and more impressive upon repeated listening, as the reasons behind White's falsetto choices or bruising guitar work become clearer. It's an endlessly interesting world to visit, but it also makes you wonder if White needs to make some new friends.

-- GLENN GAMBOA, Newsday

First Published April 26, 2012, 4:00 a.m.