She’s not out to impress, she’s out to create beauty.

Bloodest Saxophone jumps into the beat and squeals and groans with so much pleasure it’s impossible not to be infected with their lust for a musical good time.

Yoshio Suzuki’s excellent release, “Generation Gap,” starts out not with a generation gap but a cultural gap: traditional Japanese wadaiko drums bumping under a dirty blues trumpet line.

The outing is a straight-ahead gem.

Country blues fingerpicked on acoustic guitar has no better player in Japan than Tokio Uchida.

Yamamoto’s sleek, straight-ahead CD kicks off with “Bohemia After Dark” and stays in that cool bop groove for the next ten cuts. The recording lays down robust

This interlinked set of compositions dig right into various grooves that let everyone in the band lean forward and play. The original composition, more one composition then the ten listings suggest, flow

After the first listen to “Dojo,” I was pleased to see the old Japanese phrase that roughly translates as “Volume One.” Inside the powerful music these two intense musical personalities create on “Dojo”

Not only are the titles taken from European places, artworks and experiences, but the sounds themselves are like a travel journey of melodies, rhythms, impressions and feelings.

She jumped onstage for the last song in the evening, a chance always saved by musicians for their most promising students. She has made good on that early promise and then some.

This lush, gorgeous piano trio recording is a stellar example of how precise music can also be stunningly beautiful. The tone is everything here.

Tributes are one way that lesser known musicians can establish their credentials, but Jesse Van Ruller has plenty of cred already. He’s a guitarist’s guitarist whose ease of playing makes him a delight.

You need a sense of nostalgia and a couple of shots of booze to fully appreciate Bloodest Saxophone, a wild sax-full group that ranges across the musical spectrum. With those under your belt, Bloodest Saxophone is a great, big kick.