By John Janowiak

Unlike many jazzers, Brian Gephart and Bob Long are not afraid to reveal an unspeakable truth: They grew up in a world touched by the Beatles. It's self-evident -- they actually cover "Eleanor Rigby" -- and it's not the only latter-20th century influence apparent on this disc. The well-disciplined howls of Gephart, for instance, carry the unmistakable stamp of jazz-rock-fusion sax pioneer Michael Brecker, and the inviting aesthetic of the original songs at times suggest the pop-jazz sensibility of Pat Metheny.

The influences of John Coltrane, Miles Davis and Wayne Shorter are plainly heard, too, in the care each musician has taken to learn from the jazz masters. Although "Corners" tends to be inviting, relaxed and easy on the ears, its musicianship would make even a jazz purist proud.

Gephart and pianist Bob Long sound like they have worked together for years. They have. This is their fourth recording in 10 years, and they've gigged for ages in such spots as Pops for Champagne. They possess that classic working-band sound: guys who are accustomed to playing set after set, drumming up a musical dialogue that is as entertaining to each other as to the people drinking it in. "Corners" is a studio recording, but listen to the way Long cackles at the end of the aptly titled "Killer Clowns" and the joy of creative interaction shines through.

"Killer Clowns," incidentally, is both a highlight and low point of the disc. Its repetitive funky motif is immediately gripping, though after nearly 6 minutes, it wears a bit thin. "Eleanor Rigby," meanwhile, manages to sustain interest even though it clocks in at nearly 11 minutes. Part of its longevity, I think, comes from the way they sneak into the melody after an extended vamp that scarcely hints at what song it is. The tasteful addition of strings (real ones, not a cheesy synth!) helps too -- of course, you've got to have strings if you're going to do "Eleanor Rigby." Another longevity factor is the way the rhythm section ebbs and flows, gradually building intensity.

And what a rhythm section this is. Gephart and Long were lucky enough to recruit drummer Ernie Adams for most of this recording, and his contribution proves valuable from the get-go as he artfully punctuates Long's piano solo on the opener, "Canvas." Bassist Ken Haebich lays down a solid bottom end and plays a bluesy solo on "Mr. D."

Vocalist Grazyna Auguscik appears on two mellow back-to-back compositions by Long, "La Nuit (for Cyd)" and the title track, "Corners." It's her clear, airy presentations of these richly melodic pieces that remind me of Metheny, for some intangible reason. And one spot -- where Gephart softly doubles her melody to the accompaniment of piano and a maraca or maybe just a shaker-egg -- stakes a claim as the album's most sublime passage.

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