Russell Malone is cutting out on his own.

For the past four years the guitarist has been an integral part of the most visible group in jazz, providing deft rhythmic support and tart, bluesy solos for the hugely popular Diana Krall trio. But late last year, he decided to leave this plum position to pursue his own musical goals.

With his new Verve CD Look Who's Here, featuring the lilting title track (RealAudio excerpt), Malone decided that he didn't want to get pigeonholed as the consummate accompanist. Backing Malone on the album are pianist Anthony Wonsey, bassist Richie Goods and drummer Byron Landham.

"No gig lasts forever," Malone said from his home in Jersey City, N.J. "Diana and I are still cool. We talk occasionally. It was a great situation that was mutually benefiting to both of us. But I was starting to get typecast as that kind of player, and I've got so many other things I can do. I've got my own musical message I want to share with the world."

His message is coming through as effectively as one of his incisive, blues-drenched solos. One of the most respected guitarists of his generation, Malone, 36, is sought after by contemporaries and veterans alike. In the past few years he's recorded with pianist Stephen Scott and collaborated with pianist Benny Green on his last two Blue Note albums, Kaleidoscope and These Are Soulful Days.

"As dynamic a soloist as he is, he brings so much to the trio as an accompanist," Green said after a recent trio gig with Malone and bassist John Clayton at the Oakland jazz club Yoshi's. "He's always listening, and he's such a tremendous time player and harmonic player."

Depth, Not Hype

Most telling is Malone's involvement with veterans, the kind of players who are unimpressed by flash and hype. The guitarist recently finished a week-long run at the swanky Manhattan jazz spot Iridium with 81-year-old piano patriarch Hank Jones. The week before he was in Los Angeles recording a blues album with Hammond B3 organ legend Jimmy Smith. Kenny Barron was so impressed with Malone's fret work that the great pianist recruited him for three tracks on his recent Verve album, Spirit Song, including a gorgeous, intimate duet on the pianist's tune "And Then Again."

"I had heard him in other circumstances than with Krall and he's actually a very adventurous player," Barron said. "He's one of those players who can play in any style, any way you want to go, and he plays incredible solo guitar — great voicings and technique."

What sets Malone apart from so many of his peers is his quest to master every aspect of the jazz guitar tradition. It's a path that hasn't always run smoothly.

"I used to get criticized by a lot of musicians because I was so busy checking out the history of my instrument," Malone said. "I was learning how to play rhythm and learning tunes and how to accompany a singer, and a lot of people used to put me down for that. 'Man, why are learning that old stuff, you need to be learning the new thing, blah, blah, blah, blah.' Doing my homework has allowed me to be in some very good situations."

While his technique is impressive, Malone is an economical player who gives each note a particular emotional weight. He brings a deep soulfulness to everything he plays, a trait which can be traced back to his earliest musical experiences.

Gospel Roots, Eclectic Explorations

Born and raised in a working-class family from Albany, Ga., Malone grew up hearing the spirited gospel music played in his church every week.

"Every Sunday I'd go to church and I'd find myself over in the corner watching this guy play the guitar," Malone said. "My mother bought me a guitar, and one of the guys in church showed me how to tune it. Soon I got good enough to land a spot in the church band. That's how I started playing. But I saw B.B. King on television, and that's how I started really, because hearing B.B. King sing, it's almost as if a minister is delivering a sermon. Not to mention the way he played the guitar."

After touring with a tent-meeting evangelist and recording a couple of a albums with a gospel group, Malone eventually settled in Atlanta in 1984. During a decade of dues-paying he played with numerous jazz, blues and R&B musicians, including singers Patti Austin, Peabo Bryson, Clarence Carter, Freddie Cole and Eddie "Cleanhead" Vinson.

Malone spent two formative years with Jimmy Smith, though he never recorded with him.

"It was about swinging and grooving and communicating with Jimmy," Malone said. "He always encouraged me to explore and experiment. He allowed me a lot of room to play and to make some mistakes. It was beautiful."

A four-year stint playing rhythm with singer-pianist Harry Connick Jr.'s big band brought Malone widespread exposure, but few opportunities to solo. Joining Krall just as her career was taking off brought him far more attention, and now that he's on his own he's determined to explore the full potential of his guitar.

"The instrument can be a small orchestra if you approach it that way," Malone said. "It's a string instrument, it's not a horn. Listen to some of those Brazilian players or some of those classical players — there's a lot of beauty that can be extracted from the instrument."

Russell Malone tour dates:

May 4; Washington, D.C.; Blues Alley, Bell Atlantic Festival

May 9; Boston, Mass.; Regatta Bar

June 6–11; New York, N.Y.; Blue Note

June 16; Highland Park, Ill.; Ravinia Festival

July 18–22; Vittoria, Spain; Vittoria Jazz Festival

July 26–28; Aspen, Colo.; Jazz Aspen (with Christian McBride)

August 4–6; Marciac, France; Marciac Jazz Festival

August 10–12; Marciac, France; Marciac Jazz Festival

September 1–3; San Diego, Calif.; West Coast Jazz Festival

September 5–10; Oakland, Calif.; Yoshi's (with Ray Brown)

July 5–7; Boston, Mass.; Regatta Bar (Malone trio)

July 13–19; Chicago, Ill.; Jazz Showcase