Bruce Hornsby, Harbor Lights

Although both emerged from similar roots, the cross-pollination of rock and jazz is fairly limited. There's the heavy horns of 70s groups Chicago, Tower of Power, and Blood, Sweat and Tears; the cool jazz fusion of Steely Dan; and the modern mix-it-up hip-hop of Us3. The only other jazz-influenced rock artist to make much of a name for himself in the general public is Bruce Hornsby, who combines the better aspects of jazz-lounge piano (like Dave Grusin or Keith Jarrett) with the folk-rock sound of Jackson Brown and James Taylor.

After his debut with the massive hit, "The Way It Is" (from the album of the same name), Hornsby has released successive albums that build upon the formula that worked for him so well in that first single: a rock rhythm section with a standout piano that takes both the melodic part and also adds the gracenotes to the lyrical lines (think of how "The Way It Is" has the three-note-three-note touches after the line, then switches to taking on the full melody between chorus and verses).

For me, Hornsby's best album to date is not that first one, but 1993's Harbor Lights. The jazz solos are much longer, and stronger, than on previous releases ("China Doll"), while the folky lyrics of philosophical musings have a touch more poeticism ("Fields of Grey," "The Tide Will Rise"). The best songs, though, are the ones that reveal Hornsby's funky side, like the horn-laced chorus of "Rainbow's Cadillac" (complete with wonderful backing vocals by Bonnie Raitt) and the infectious rhythmic drum on "What a Time." My favorite song is "Talk of the Town," about a mixed-race couple in a small town told in the first person with a medium speed, yet driving drum track.

If your only exposure to Hornsby has been his 80s hits, I think you'll be pleasantly surprised by this album, by his increasing musicianship, and the maturity of his lyrics. This isn't teeny-bopper pop, but truly adult alternative music.