Drummer Steve Smith's musical roots dig deeply into every aspect of jazz, which may come as a surprise to those familiar only with his high-profile rock'n'roll reputation, including seven years in the group Journey.

Smith has established himself over the past 14 years as a dominant fusion player with Steps Ahead and his own band, Vital Information, while also making time for straight-ahead jazz projects and even a 1996-97 Journey reunion.

And through it all, he has shown no fondness for shallow attempts at fusion or the contemporary style that marketers have dubbed "smooth jazz."

"It is offensive that they even used 'jazz' in the title. It is purely pop instrumental music," Smith said. "We have a world that has developed how to market and sell products. Now we're making music that is safe. In some ways, 'smooth jazz' upsets people to the point that they are really hungry for musical adventure.

Smith has thumbed his nose at the marketing consultants with his two newest projects. One looms as one of the finest true-blue fusion recordings in years. The other is a tribute recording with a small group of Buddy Rich alumni.

"The Stranger's Hand" is the latest in a series of fusion projects that Smith has released on the ToneCenter label. It is a collaboration with violinist Jerry Goodman, bassist Oteil Burbridge and keyboard and harmonica wiz Howard Levy.

Goodman is best known for his work with John McLaughlin's Mahavishnu Orchestra, Shadowfax and now, the Dixie Dregs. Burbridge spent eight years with Aquarium Rescue Unit before signing on this year with one of the true great Southern rock bands, the Allman Brothers. Levy was a founding member of banjo player Bela Fleck's Flecktones.

The music on "The Stranger's Hand" is astonishing not only for the energy and quality it contains, but also because none of the players had met each other - let alone worked together - prior to gathering at Smith's northern California home studio on short notice last January to record.

"It sounds the way jazz fusion used to be, before it became conservative," Smith says. "I still believe there is a group of people who want music played with no holding back. I don't want the music to be on the fence at all. I want it to be at the highest level it can be - challenging to us and to the listeners."

"The Stranger's Hand" fits that definition with ease. Consisting of 10 originals that they developed and refined on the spot during nine days of recordings, it looms as one of the finest jazz releases of 1999. 

In a straight-ahead jazz vein, he has also released "Steve Smith and Buddy's Buddies" with Buddy Rich alumni Steve Marcus and Andy Fusco on saxophones, pianist Lee Musiker and bassist Anthony Jackson. It grew out of several "Burning for Buddy" big band concert tours in which Smith performed, and its release comes 12 years after the drummer/bandleader's death.

With arrangements by Musiker at the core, its "little big band" feel is applied to fresh takes on tunes associated with Rich, as well as material that has the same fiery flavor.

"All of the guys on this project really loved Buddy Rich in spite of his temper tantrums," Smith says. "He had a big heart and his musicianship and his dedication to music was stronger than his temper."

Buddy's Buddies will tour in November, with dates booked in Montreal, New York, Hartford, Conn., and State College, Pa.

The "Buddy's Buddies" project brought Smith full-circle. He grew up in the Boston area, where at age 9 he learned to play his instrument from ex-big band drummer Bill Flanagan. His first tour as a musician was in 1974 with a big band led by Rich alumnus Lin Biviano.

Smith also has another recording in the works from his primary unit, Vital Information, with guitarist Frank Gambale, keyboardist Tom Coster and bassist Baron Browne. It was recorded live in concert on a 1998-99 world tour.

"I'm excited to be recording all of these projects," says Smith. "My background has prepared me to play in all the styles and do so convincingly.

"I grew up in a good time and a good place. I have made a point to study and to be able to play the whole history of American music on the drums. I see myself as a U.S. ethnic drummer. I want to know my heritage and be able to play everything from the blues and country rock to jazz and fusion.

"I love jazz in all of its forms, from New Orleans to the present. I'm just doing my best to keep it alive and evolve as a musician myself."

Copyright 1999 by United Press International. All rights reserved