Nathan Haines: Squire for Hire

By GRAHAM REID

(Herald rating: * * *)

Haines' albums have always been clever affairs, quieter and more textured than his live performances, which show he knows the difference between home entertainment and the going out kind. Albums have to last longer and Haines' have done that.

This soulful outing is no exception as it bobs and weaves deftly between the 70s (Rich Medina's sub-Scott Heron styled speak-sing on Let It Go) and touches of Latin.

But soul-jazz diva Marlena Shaw sounds a little under-utilised on the title track, which is nevertheless a very cool cut indeed, the original Folk Jazz is naggingly familiar (just the lyrics are missing), the respectful cover of Steely Dan's FM with Blur's Damon Albarn is interesting but little more, and the slow-funk urban soul with Shelley Nelson (Nothing More) goes by to no discernable effect.

These tracks sound constrained and the best material lies in the slower growers: O Misterio is a little anonymous but is an understated downbeat Latin flight over a bed of strings; Medina's Springtime Rain is affecting and Haines' sax reads the mood well; the sprightly U See That propelled by Spanish-style acoustic guitars picks up the energy levels; and Doot Dude brings Lyric L's saaff-lundin rap to the fore with Haines' wiry sax lines elevating proceedings towards the end.

Oblivion is his Chet Baker/club-noir vocal outing and pretty damn good in that syllable-dragging Sinatra mode.

Despite the diversity, the album is surprisingly coherent, but it also feels like Haines has too often allowed himself to take the back seat to his guests. It's admirable that he should have so little ego (other than Shaw singing his praises on that radio-friendly title track) but this rarely soars. Although, once again, it makes for good home entertainment.

So, in many respects, no surprises.

Label: FMR