Guitarist Sandro Albert's talent as both a performer and songwriter is a revelation: Brilliant technique and his ability to delight with a turn of a phrase makes each song 'The Color Of Things' something very special for Brazilian Jazz fans at Connectbrazil.com. And all of this is wrapped up in a sound and style that recalls Pat Metheny and Toninho Horta without mimicking either one.

Rarely do we have that incredible combination of talented instrumentalist, imaginative arranger, and brilliant composer wrapped up in one person, but Sandro Albert fits that bill and then some.

All of the music here was composed and arranged by Albert. He seems to have unlimited ideas in his head, each selection exudes originality. Utilizing his Brazilian background and his American jazz influences, Albert has written great music full of imagination and warmth. Along with his standard unisons, odd meters and jazz solos, we can hear background voices, a smattering of accordion, rock guitar, organ, muted trumpet, scat singing and even a bit of rap. Add tempo changes and dynamics and you have creativity at its highest level.

This Brazilian born composer, arranger, guitarist has gathered some outstanding musicians to show off his latest music.

Cuban born Jimmy Branly plays drums on all cuts and is remarkable in his ability to play the many odd-meters and tempo changes required by Albert's music. Katisse Buckingham plays a number of memorable solos on flute and soprano, alto, and tenor saxophones. Most notable are the soprano solo on 'It Sounds Like Her' and his exciting solo at the end of 'The Color of Things,' this time on tenor sax. Edsel Gomez can be heard on some very tasty piano solos in 'Rafaela's Dream,' 'Minas To Rio,' and 'The Color Of Things.' Tamir Hendelman loans his fine piano accompaniment to 'Choro To Catarina.'

Exceptional percussionists Airto Moreira and Luis Conte loan their special talent to the overall sound. We also hear Moreira's background voice in 'We Are Alive.' Jean Baylor's unique voice is heard on " Message Above the Sea" and she has a featured solo in 'If We Could Dance Now.' Frank Marocco lends a distinctive sound on 'The Color Of Things,' and 'We Are Alive' by playing accordion, and we can hear Matt Rohde's B-3 Hammond organ sound in 'If We Could Dance Now/ and 'Aguas.' Mark LedFord vocals and muted trumpet are heard in 'Aguas,' including some nice scat singing and a touch of rap. This same piece features a conga drum solo by Conte. The music and its odd-meter time is held together by Russell Ferrante on keyboards and Mike Valerio on acoustic bass. Valerio shows off his impressive technique in 'Walk With Us.' Robben Ford makes a special appearance to play electric guitar in 'If We Could Dance Now.'

Sandro Albert is featured on every cut. He plays 6- and 12-string acoustic guitar as well as electric guitar. Most impressive is the sound he achieves from his guitar on all the pieces. From the background 12-string guitar in 'The Color of Things' to his incredible technical electric guitar solo in the same piece, Albert knows just the right color to add to his compositions. We hear a sensitive warm melodic solo in 'Walk With Us' and a straight-ahead jazz feel in 'Minas To Rio.' In 'Choro To Catarina,' which Albert dedicates to his mother, he plays beautiful acoustic guitar. During his solo in 'Aguas,' pay close attention to the "trills" he uses to enhance his performance. Sandro Albert can play the guitar!

The music is so enjoyable at first listen, but on further exploration you can see how brilliant Albert has combined his instrumentation to give us a unique blend of jazz and tonal inventiveness. Albert's guitar is fantastic and so are the rest of the instrumentalists, but the real star here is Albert's music. Combining all the elements that make music great; beautiful melodies, interesting harmonies, and exciting rhythms, Albert gives us extraordinary compositions that we can all enjoy. Combine this with great solos and flawless execution; The Color Of Things is an absolute must for any collection!

Get to know this CD - it's become a quick favorite that has made a lasting impression with us.

We want to thank Ken Jennings of L.A. Jazz Scene for the prominent use of his liner notes in the preparation of this introductory piece.