PHILADELPHIA RULES our ears in this week's tune parade. Worth celebrating - a soul-stomping "comeback" album by Betty Wright, masterminded by the Roots; plus a frisky collection from legendary Philly-billy Charlie Gracie, and two juicy jazz sets by homegrown talents Robin Eubanks and Christian McBride.

THE CLEANUP MEN: Producer Ahmir "?uestlove" Thompson and his Philadelphia-based playmates in the Roots did wondrous things for Al Green three years back, refocusing his scattered nature and nonsectarian R&B chops on the long player "Lay It Down."

Now our homies are working on an even cooler project with "Betty Wright: The Movie" (Ms. B Records/S-Curve, A-), underscoring the continued resilience and might of an artist who's big claim to fame ("Cleanup Woman") came 40 years ago.

Scored with classic, wah-wah guitar and chunka-chunka bass lines, plus an easy groovin' chorus that begs for sing-alongs, the lead track "Old Songs" sets the album's tone with a two-pronged attack. Yeah, there's a lot of memories to be served here, as Betty name-checks Stevie and the O'Jays, Gladys Knight, Chaka Khan and Millie Jackson. Plus, the opening number also argues that yesterday's tuneful approach to soul stylin' is still richly satisfying for discerning listeners.

And this red hot mama's got more good advice. With Snoop Dogg adding affirmation, the song "Real Women" tells guys to "get yourself a real woman, so you can be a real man." Patience proves virtuous on the good-natured "In the Middle of the Game (Don't Change the Play)" and the punchy ballad "Grapes on a Vine," with help from Lil Wayne.

Themes grow darker as the set evolves. On "Look Around (Be a Man)," Wright urges a cheatin' guy to "tell me to my face, I've been replaced." The dramatic, keyboard-pulsing "Hollywould" casts dark shadows on single motherhood, while "You and Me, LeRoy" is a hard-times anthem with an uplifting chorus and arrangement.

Joss Stone and Lenny Williams also contribute to Wright's Roots-y comeback. And don't overlook her torchy "bonus" track tour de force, "The One."

A STATE OF GRACIE: One could argue that Charlie Gracie has never gotten the props he deserves in Philadelphia, harking back to the "American Bandstand" era when this rockabilly pioneer balked at making Dick Clark a silent partner and was then, Gracie says, blackballed from the TV dance party.

While arguably a bigger celeb in Britain, where Paul McCartney and Van Morrison sing his praises, Gracie continues to call Philly home. And even says nice stuff about it on his new (first in 10 years) album "For the Love of Charlie" (ABKCO Records, B), produced by Al Kooper.

The organ-vamped musical travelogue "Back to Philadelphia" (written by prime collaborator Quentin Jones) takes Gracie around the world, but he always ends up here, with neighbors "I've known for years . . . the best teams and Rocky, too . . . South Street, Tastykakes and the Mummers Parade."

The citizenry also will relish the singer/guitarist's childhood-evoking "School Days" and ragtime shuffle "On the Way to Cape May" (made popular by Cozy Morley), and Gracie's personal prayer to get to "Rock 'N' Roll Heaven" so he can tangle again with Buddy Holly and Eddie Cochran.

A meet-and-greet screening of the newly revamped documentary "Charlie Gracie: Fabulous" and a live Gracie performance are on tap starting at 4 p.m. Sunday at Cannstatter Volksfest Verein, 9130 Academy Road. $25 at the door or call 215-983-5200 or 215-332-0121.

SPOILER ALERT: Robin Eubanks' terrific new project "EB3: Live Vol. 1" (Robin Eubanks Music, A) comes with CD and DVD discs. Listen to the audio version first and be impressed by how intricately layered, involving and creative this jazz-fusion project is, from the dreamy, modernistic waltz "Indo" to the peppery electro-percussive "Solo Latin" and the (seemingly) guitar-scorched "Blues for Jimi Hendrix."

Then watch the accompanying DVD and be blown away in a different way. You'll discover there wasn't really a big band onstage with a brass section, mass of keyboards and multiple percussionists. EB3 is just three very hardworking, multitasking guys!

The electronics-loving Eubanks is on acoustic and electric trombones, loops (segments that he records "live" then immediately plays on top of), percussion pods (also layered) and keyboard bass. On that Hendrix tribute, he magically tweaks his 'bone to sound like a guitar.

Also on board, to fine effect, fellow Philadelphian Orrin Evans on keyboards, while Kenwood Dennard often plays keyboard bass with his left hand while slamming away on a drum kit with his right hand and feet.

Eubanks visits Chris' Jazz Cafe Saturday with a different aggregation, the Mental Images Band. (Chris' Jazz Cafe, 1421 Sansom St., 8 and 10 p.m., $25 and $20, 215-568-3131, chrisjazzcafe.com.)

Also newly out is jazz bassist Christian McBride's "Conversations with Christian" (Mack Avenue, B+), a series of duets with noted singers and players. The exotic opener "Afrika" with Angelique Kidjo and slaphappy "It's Your Thing" with Dee Dee Bridgewater impressed more than McBride and Sting's "Consider Me Gone." Instrumental pairings include keyboardist Chick Corea ("Tango Improvisation #1"), trumpeter Roy Hargrove (a shiny "Baubles, Bangles and Beads") and a strangely amusing matchup with actress Gina Gershon on Jew's harp for "Chitlins and Gefiltefish."