Blending the swoops and swirls of a Betty Carter and Abbey Lincoln with the lightness of Rose Murphy's voice, Gabrielle Goodman brings her patented interpretative techniques to this second album for the Japanese label JMT.

Using several combinations of younger jazz musicians to support her, Goodman creates a resonating palette of vocal colors as she wafts her way through a program of 12 tunes of standards, assorted originals, and a gospel favorite, "Amazing Grace." The latter adds to the near religious experience Goodman creates with her intense, wild, and sometimes right-to-the-edge frenetic singing.

That this session is a serious proceeding is evident right from the vocal roller coaster version of the kick-off tune, "Green Dolphin Street," through a sulky, slinky, down in the sawdust on the floor "One for My Baby, One More for the Road," to the album's coda, Billy Strayhorn's classic tale of happy dissolution, "Lush Life." In between there is a large amount of close give and take interplay between Goodman's voice, both as a champion of the lyrics and as an instrument.

On her own "Until We Love," her overdubbed voice and scatting blends with the biting sax sound of Gary Bartz's tenor, creating one of the several out of the ordinary aural sensations which characterize this set as it becomes one of the album's highlights.

Another highlight is the duet with Kenny Davis' bass on "In Love in Vain." With Lucky Peterson's organ and David Bunn's piano, "On a Clear Day (You Can See Forever)" becomes as fervent as anything one might hear at an old-time revival meeting culminating with a swinging last chorus built around the guitar of Wolfgang Muthspiel.

Although some of the piano playing is a bit intrusive, the overall support given to Goodman is outstanding, as one might expect given the caliber of musicians present.

One word of warning.

With almost 70 minutes of music here -- much of it intense -- some may need a couple of sittings to fully absorb the performances.

But it's worth the time and effort.