The session begins with a fine tribute number "Ain't That A Peach." It's dedicated to Snooky Young, who passed away last year at 92. It's a Hamilton piece, and mixes spirited drumming with Hendelman's deft phrases and Luty's solid bass assistance. Luty takes center stage on "Oh So Well," this time displaying his skills with the bow. It's a piece written by Hamilton's former boss Brown. Luty's also in excellent form on "In An Ellingtone," a homage to the Duke. Hendelman shows his melodic flair with an elegant arrangement of David Raskin's "Laura." Hamilton reworks Monk's "Bye-Ya," adjusting the rhythmic framework to a Brazilian mode. "On and On," a straightforward Stephen Bishop pop song in its original form, is recast as a jubilant, swing-infected workout. The new arrangement gives Hendelman and Hamilton equal time in the spotlight. Hendelman also contributed "Hat's Dance," a vigorous piece co-written with Hamilton that again fully reveals each man's instrumental brilliance.

The trio smoothly explores familiar works such as "Too Marvelous For Words" and "A Sleepin' Bee," a tune where no less than Truman Capote shares writing credit with Harold Arlen. But it's on "Red Sparkle" that Hamilton's prowess gets its finest hour. His drum solos have a warmth and musicality that is often lost in barrages of licks and beats when lesser types get too much space and time. He turns these moments into joyous exercises. Hamilton shows he's not only a fast and furious stylist, but a thoughtful and inventive one. "Red Sparkle" is top-of-the-line fare, ample evidence of the Jeff Hamilton Trio's continuing excellence.

Emphatic vocalist/guitarist Ruthie Foster's latest release is far  more than a cover session. Foster's takes on a variety of material are consistently vital and refreshing, whether it's rock, blues, country or gospel. She sings with soul and passion, yet her treatments are restrained and disciplined. John Chelew's production nicely balances and propels Foster's dynamic leads. The guest musicians add ideal support. There are no unnecessary embellishments or instrumental excesses, just the right blend of energy and artistry.

Foster's rendition of "You Don't Miss Your Water" provides an example of her penchant for unusual approaches. The groove is steamy, and Foster's intense singing dominates things until William Bell comes in midway, and adds male firepower. James Rivers' rich tenor saxophone licks underneath bring an additional edge. Her "Ring of Fire" doesn't match Johnny Cash's stomping original. She opts instead for a reflective, entrancing version. Organist Ike Stubblefied soars behind her on The Band's "It Makes No Difference," while guitarist Dave Easley's light touch buttresses her touches on The Black Keys' "Everlasting Light."

But my personal favorites are the collaborations with The Blind Boys of Alabama. They join her for the celebratory opener "Welcome Home" (one of three Foster originals) and teeming final track "The Titanic. This tale of impending doom sounds even more striking thanks to the Blind Boys' harmonies and Foster's mighty performance. They also join her on David Crosby's "Long Time Gone," which gets potent backing from Crescent City bassist George Porter Jr. and drummer Russell Batiste. More Foster compositions include "Lord Remember Me," another gospel stomper with the Blind Boys, and the poignant message track "Aim For The Heart," co-written with Nashville producer/songwriter/instrumentalists Jon and Sally Tiven. While Foster certainly puts vocal muscle into rousing performances of "If I Had A Hammer," John Martyn's "Don't Want To Know," and "This Time" from the duo of David Hidalgo and Louie Perez, her top pop number is "Set Fire To The Rain." It was co-written by this year's Grammy sensation Adele.  Foster doesn't directly echo Adele's mournful sensibility. Yet she retains the tune's somber sensibility as she injects a resilient quality through her vibrant vocal.

"Let It Burn" nicely mixes secular and spiritual themes, showing again how the searches for salvation and romantic fulfillment often dovetail in contemporary popular music.