Of all the tribute albums around, The Glory of Gershwin holds the distinction of being the only one to feature an 80-year-old harmonica player and Meat Loaf. Beyond that it also pays homage to one of the greatest composers of the 20th century. George Gershwin's ability to convey rapture and longing through his melodies alone was virtually unrivaled among his peers. Sure, Cole Porter and Richard Rodgers crafted brilliant songs, but neither wrote A Rhapsody in Blue.

It's fitting, then, that although numerous household names lend their voices to Glory, the album's star is an instrumentalist: octogenarian Larry Adler (Gershwin's friend and musical associate), whose savvy, richly intuitive harp work graces every track. With its nuances and gritty pathos, Adler's playing emphasizes the folksy but haunted sense of Americana that runs through much of Gershwin's music, particularly Porgy and Bess.

Among the singers, Elvis Costello and Lisa Stansfield come closest to matching Adler's effortless virtuosity. Stansfield's technically supple alto is well suited to show tunes, and "They Can't Take That Away From Me" is a perfect vehicle for her flirtatious vitality; Costello delivers a reading of "But Not for Me" that's both tasteful and heartbreaking. Others show signs of stretching or challenging themselves but are often equally impressive. Peter Gabriel ("Summertime") and Sting ("Nice Work If You Can Get It") start off singing so low in their ranges that it may take a moment to recognize them, but their performances turn out savvy and affecting. And Kate Bush milks every ounce of desperation in "The Man I Love," imbuing the song's wistful lyric with a delicious hint of madness.

Granted, some push a bit too hard. One wishes that Mr. Loaf, who quavers ardently through "Somebody Loves Me," had waited for the Andrew Lloyd Webber tribute; the same holds true for Cher, whose version of "It Ain't Necessarily So" is, predictably, an exercise in overzealous vamping. Fortunately, producer George Martin keeps the bombast to a minimum, arranging the songs with an unpretentious intelligence that frees them to do what they have always done, which is inspire and enchant. (RS 700)

ELYSA GARDNER