A three-for-one package covering Khan's Columbia years and his debut recordings as a solo jazz-rock guitarist. But Khan was no newbie on the block. As the son of Sammy Cahn, he was steeped in the American Song Book, and, already 30, he'd had one, admittedly stumbling, career as a drummer. But by the time of Tightrope he'd played with Blood, Sweat and Tears and come under the thrall of Bob James. The resultant debut reflects both influences: radio friendly easy listening smoothies like ‘Darlin’ Darlin' Darlin' rub shoulders with funkers like ‘Some Punk Funk’ salted by Brecker's tenor. However, with The Blue Man, the focus is sharper. Khan has developed a more keening signature sound, he writes all the material, and, crucially, he's taken over from James on production duty. The sound is still clean and studio bound, with that immaculate studio band behind him, but Khan's style is now freer, less sweet and sensitive to contemporary sounds like Weather Report. With Arrows, Khan is confident and totally in control, whether he's doing his Di Meola thing on ‘Some Arrows’ or altogether quirkier on ‘Daily Village’. A suitable primer for all things Khan if vintage guitar fusion is your bag.