Mark Elf has consistently found favor at jazz radio, easily watching his last three discs top airplay charts without the benefit of major-label marketing muscle. It's no surprise: The New York guitarist boasts an approach that's solidly mainstream without being musty. Elf's recordings of inventive original compositions and smartly selected standards are defined by clever, sophisticated arrangements and fluent, fluid fretboard work that owes something to the likes of Tal Farlow and Barney Kessel. And he picks simpatico sidemen, supportive rhythm-section players who are often bandleaders in their own right.

"Over the Airwaves," Elf's salute to the radio DJs and programmers so crucial to his success at stations across the country, ought to be as successful as its '90s predecessors, for the same reasons. "The Cookie Maker," a lightning-fast piece based on the "Cherokee" changes, benefits from Elf's fleet-fingered improvisations and reading of the bop-ish melody, while he luxuriates in the still waters of Billy Strayhorn's "Lush Life," and a New Orleans-influenced version of Cole Porter's "Love For Sale" opens up for drummer Ralph Peterson's imaginative fours-trading.

The trio, with Elf regular Jay Leonhart on bass, also turns in tasty versions of Rodgers/Hart chestnut "Blue Moon," the Gershwins' "Let's Call the Whole Thing Off" and Arlen/Koehler treasure "Stormy Weather." The leader specifically dedicates several pieces to jazz-radio personnel, including the zig-zagging "On at KLON," "TGEG Blues," "Erv's Curve" and "In Three For Bob P." Had a lesser talent taken this approach, he might have been accused of a cynical grab for attention. Elf, though, would have received the airplay anyway, with or without the name dropping. And for good reason
- PHILIP BOOTH