Many years ago (OK, really...not that many years ago. Well, more than I realized....uh, never mind!) I had a jazz guitar teacher who described a successful solo as having a storytelling quality. At first, I wasn't sure what he was getting at until, at one magic point in one single lesson, I was able to forget about the technical aspects of what I was doing and indeed, tell a story. That experience made me completely reevaluate what I thought was "right" about improvised music.

Given saxophonist Ron Blake's impressive list of credits, it should surprise no one that he knows how to tell a musical story: Art Farmer, Roy Hargrove, Dianne Reeves, Jimmy Smith, Joey DeFrancesco, Ziggy Marley, Meshell Ndegeocello, Christian McBride. That is one quite varied (and very incomplete) list. Blake has been a member of McBride's band since the year 2000 and has also been a member of the Saturday Night Live band for several years.

For Shayari, Blake has enlisted the aid of producer/pianist Michael Cain, percussionist Gilmar Gomes, Regina Carter (guesting on "Of Kindred Souls"), and the (maybe not so) secret weapons of Christian McBride (bass) and Jack Dejohnette on drums. Yes, they do tell some stories.

"Atonement" finds Cain setting up a dark and sparse groove that DeJohnette and Blake fill out for the next eight minutes. As usual, Jack DeJohnette manages to torque up the intensity with seeming minimal effort. Blake's horn soars in an almost Love Supreme kind of way.

Blake shows many sides on this album. A very different, and very bluesy persona is displayed as Blake and Cain take on Sammy Cahn's smokey ballad "Please Be Kind." If you're looking for more sensitive duo renderings, check out "Remember The Rain." It's truly as if lifelong musical brothers are having a conversation.

My favorite piece on Shayari is "Of Kindred Souls." Cain sketches out the harmonic boundaries before Regina Carter introduces the main thematic line...which is soon joined by Blake's sax. The two instruments slowly encircle each other before Blake drops back to allow Carter to build a hint of swing. Carter then stands by as the leader pushes the intensity with an ascendent solo. Ah, but then they both give the piano player some as Cain is given room to have his piece. Regina comes back in, as does Blake, to complete the story they've been assembling. It's understated and very inspiring stuff.

At every turn, Ron Blake indeed tells stories with his instrument. The difference between subtle musical storytelling and mere chord change spelunking? Now that's a tough distinction to make. I suspect it's one of those "know it when I hear it" things. On Shayari, I'd be willing to bet that you'll be able to hear the difference.