One should pay attention when Bill Milkowski writes the liner notes for a jazz guitar album. The ever-trustworthy journalist is the resident guitar expert at JazzTimes, Guitar Player, Bass Player and other music magazines. In the case of Mark Kleinhaut's "Holding the Center" (due out Tuesday on Invisible Music), his notes praise the Maine guitarist's "jaw-dropping technique," "penchant for melodicism" and "improvisational daring." It all rings true.

The proverbial "talent-deserving-wider-recognition," Kleinhaut has been compared to Pat Metheny in the scope of his expression. The album, a trio date with bassist Jim Lyden and drummer Les Harris Jr., opens in a Spanish mood with Kleinhaut's lovely, brooding "Intro to Sister Cuba." "Sister Cuba" then emerges in full clave rhythm, the intricacy of the melody recalling pianist Chick Corea's Latin compositions. Bass and drums drop out, and Kleinhaut solos in a propulsive finger style -- definitely the "jaw-dropping" highlight of the performance.

"Baby R," "Erika's 8:30 Rule" and "Rock & Sand" -- Kleinhaut penned all the tunes on the session -- employ jazz-rock rhythms. The crispness of the bass-and-drums beat is a steady reference for the guitarist's solid, declarative rhythmic departures, counter rhythms and interlocking rhythms. On "Erika's," he employs a Leslie speaker-type sound that suggests a Hammond organ. The cleanliness of his attack and runs recalls George Benson.

"Holiday" and "Logical Extension" are pure swing. The title track is folklike in a mid-Western, Metheny way.

The ensemble work demonstrates a long-term relationship. One senses continuity in mood and approach in successive solos by Kleinhaut, Lyden and Harris.

Kleinhaut has a degree in music from Rutgers (where the late Ted Dunbar was a mentor) and teaches privately as well as at clinics in high schools and colleges in Maine.