A heavyweight band of big hitters all with impressive CVs. Led by composer, arranger, trombonist Forsythe they hit the deck running on Fourth Rights. Explosive tenor solo by Weiskopf and slightly more subdued solos from the other two horns.
Simple Samba has Lynch on flugel, Davis trombone both gentle and relaxed. Weiss adds some nice piano touches over a blissful samba rhythm. Not a frantic carnival samba more a wistful almost smoochy one although smooching to a samba, however blissful it is, might prove difficult.
On The Professor Lynch once again leads the charge followed by Davis with an Urbie Green sounding solo. Weiskopf adds some spice on tenor and Weiss's piano sets the scene for a round of fours twixt Watson, Weiskopf and Davis that don't overstay their welcome.
It's Got to be Sweetness and there's plenty of that with the horns oozing pathos. At 3:19 it's the shortest track although probably just right for the number.
Probándome has a joyous feel in both the arrangement and the solos by trombone, tenor, trumpet and piano. The title means 'to try on'.
Home - trumpet, tenor, trombone and piano strollin' home whilst Watson chops a few trees down.
More woodchopping in the minor keyed Outer Limits. Tenor has first bite with an agile solo that leaves no note unplayed. Piano takes it, bass walks then solos - he gives it his best shot.
Sentimental turns out to be a hopped up, bopped up version of I'm Getting Sentimental Over You. The trombone solo is more JJ than TD. The fifths are well and truly flattened.
Sanctity. This is a strange one. Forsythe makes his sole trombone appearance on this dirge-like track but doesn't solo, Kenny Rampton plays trumpet but doesn't solo and Donny McCaslin, presumably hired at great expense, plays maybe half a dozen or so notes.
This was Forsythe's debut album as a composer for which he deserves a special mention. Lance
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