The musical path of Canadian guitarist Jamie Ruben is surely the story of the road less traveled. Rather than gigging regularly in some urban jazz hotbed, the Toronto-based guitarist made his living for seven years performing jazz full time in the Far East in such places as Katmandu, Bangkok, Shanghai and the even more remote regions of Siem Reap and Koh Samui, among others.

Taking the musical sounds of the West over to the Far East ensured that much of the music of those cultures surely entered into the guitarist's way of thinking. He undoubtedly refined his technique and returned to Canada a much different player than when he left.

Ruben's solo debut, Groove-O-Ly-O-Scene, is a unique and attractive presentation of guitar artistry in a jazz context. The title's a bit deceptive, though, as it's really not the funk fest that the word "groove" suggests. It's not the esoteric new-age pabulum or smooth-jazz hokum the disc's "Holistic Jazz Tonic" epigram describes either.

This is methodical, contemplative music driven by an affecting, often hypnotic beat. The best of Ruben's originals ("Albino Bison," "Bangkok 504," the radio friendly "Pai Crowd" and "Monsieur Slidey") are structured like elegantly simple sketchpads designed for reflection. The guitarist rises to the occasion, reflecting the more spiritual players of the 1970s suggesting what