Danny Heines' third effort for Silver Wave might be his most interesting yet, humming along nicely on a lighthearted, contemporary jazz vibe. For this outing, the guitarist is again joined by oboist and sax man
Paul McCandless, as well as crack session bassist
Michael Manring and percussionist William Kennedy. He continues to explore the subtle curves of Brazilian music -- "For Beo Dene" features the bossa nova purr of new age vocalist Joan Beal. But it's his jazz roots in which
Heines is most interested on
One Heart Wild. "Where Eyes Converge" begins with a slightly foreboding acoustic figure, over which more guitar sketches out a pensive melody. Fretless bass adds the bottom end, and breathy reeds color in the margins. "Another Time" is even more of a jazz outing; here,
Heines trades solos with
McCandless as Latin-influenced percussion patters in the background. The airy, effortless soloing that makes up the bulk of
Wild will never be confused with the hard notes of the more tradition-minded players. But in his element,
Heines' talented runs up and down the fret board are quite enjoyable, and his ability to accent songs with just the right touch of rhythm or breezy synth is remarkable. "Up to Stay" might be
One Heart Wild's best example of this. Its insistent beat is created from elements of both traditional percussion and understated keyboard work, and the bass solo break nods to the old school while keeping things drenched in modernism. Together with the late-night cabaret shuffle of "Walk On, Bright Eyes," the cut makes the album's musical heart beat. ~ Johnny Loftus