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Jazz fans might not know Stephen Sondheim from Stephen Foster, but the 11 interpretations on Color and Light: Jazz Sketches on Sondheim make it clear that the great American musical-theater composer’s work is harmonically and melodically compelling enough for jazz musicians to sink their instrumental and/or vocal teeth into. Some of the most haunting perform ances on the date originate from sources not necessarily associated with jazz, such as pop balladeer par excellence Peabo Bryson’s rendition of “Pretty Woman” and saxophonist (and Kenny G and George Howard progenitor) Grover Washington’s lyrically gritty “Every Day a Little Death.” Less enthralling is Bryson’s collaboration with the perpetually overwrought Nancy Wilson, “Anyone Can Whistle,” in which the trumpeter floats Wynton Marsalis-style far above the emotional content of the material. As for the composer himself, his gentle, lyrical, but unaffected piano is briefly featured at the opening of “They Ask Me Why I Believe in You” before quietly giving way to Herbie Hancock’s equally pensive style.