John Pizzarelli is one of those unique artists that can project jazz well into the mainstream. Jazz diva Diana Krall perfected this 'crossover' and sells a ton of CDs. I'm not sure if Pizzarelli sells as many discs as Krall, but his musical persona is just as strong. This strength is continued on his fifteenth album, bossa nova.

I crossed paths with this album at a listening station at the local music shop and later on a live set on CBS' Early Show. (Pizzarelli is equally good live). The words 'bossa nova' is a sure fire way to get my attention. I have been in love with the genre ever since my father introduced me to Stan Getz' seminal bossa recordings when I was just out of short pants. And because of the impossibly high benchmark set by early 1960 recordings of Mr. and Mrs. Gilberto, Antonio Carlos Jobim and Stan, many good records have not lasted the test of time.

On bossa nova, only four of the thirteen songs are by Jobim, but most have the relaxed and unbending musical stamp of a Jobim production. Pizzarelli includes two originals, Francesca and Soares Samba, both of which highlight his great guitar playing. Many of the other tracks subjugate the guitar to a secondary voice. I would like to have heard the guitar a little more forward in the mix. It's that good.

Of course we get The Girl from Ipanema, and with the obligatory English/Portuguese traded verses. Jobim's grandson Daniel is brought in for the Portuguese and will add to the provenance of the album. He sings quite well, too. Does this performance erase memories of Gilberto? No, but it adds to it nicely -- it also has some very cool changes. Other classics included are Desifinado and One Note Samba.

Most tracks work well, some not. Fascinatin' Rhythm and Your Smiling Face are too much nova and not enough bossa. The musicians try to inject some Brazil into New England, but to no avail. Others tracks like Estate and Aquelas Coisas Todas are splendid. My favourite? Jobim's Waters of March. This almost bridge-free, sequential gem is an exercise is simplicity, and is performed to perfection by Pizzarelli and his musicians.

Which brings me to Pizzarelli's voice. His voice is to his guitar as Chet Baker's was to his trumpet. A secondary instrument, for sure, but heard with the right material, very effective. Those buying this CD for echoes of Sinatra or newcomer Michael Bublé should look elsewhere. Pizzarelli's voice is an extension of his guitar, another string, no more, no less. It is 'friendly' (to use the descriptor offered by my teenage daughter) and personable, and makes for very pleasant listening.

Other than Pizzarelli's musicianship (and that of his group), there are two aspects of this production that are absolutely world class: the arrangements and the recording. Don Sebesky's arrangements are gorgeous, subtle, musical, and any other positive adjective that tickles your fancy. Wonderful. And whither Telarc's recordings? Since 2000, Pizzarelli has recorded with Telarc. For the uninitiated, Telarc revolutionized the quality of the digital recording, primarily for classical music. Audiophiles would gather round warmly glowing tube amps and expensive speakers to hear the latest oh-so-clean bass drum thwack or gloriously real soundstage. They are always first rate, but bossa nova is spectacular. The upfront perspective captures the detail of both Pizzarelli's instruments to perfection. The accompanying flutes and strings have all their unique timbres intact (its nice to hear the clear differences between flutes and alto flutes), and Paulinhno Braga's gentle drumming is so musical. As such, I'm happy to add this bossa nova near to the front of my collection.