First Song (Charles Haden): A dreamy, plaintive, esoteric exploration on, I presume, the mezzo sop sax. followed by Lage in a similar mode.
Amsterdam: Lovano sticks with the soprano enjoying some interplay with Lage. Debriano has his say on bass and Calhoun paradiddles. Lage produces some harplike sounds on guitar.
The Call: The soprano sounds eerie, almost phantasmagoric. I checked that all the doors and windows were closed. A shot of the 'cup that cheers'* calmed me and I found myself drawn into the mysterious aura surrounding the track.
Fanfare to Unity: At last the tenor comes out of its case. There's a sense of déjà vu emerging - a vague similarity to those sides Warne Marsh cut with Lennie. Just a suggestion, no more but not a bad marker to guide you - even unconsciously.
Lady D (Wayne Shorter): Lage leads the way in this melancholy tribute to jazz's most emotional singer ever. Lovano blows tenor like maybe Lester would have done had he still been with us. Lage too solos respectfully. Billie deserved nothing less - poetry.
The Great Outdoors: I think Lovano may have brought the tarogato into the equation. I don't know, I've never heard one but it does sound raspier than either sop or tenor. I don't think even Roland Kirk had one! It's another slowmo. It's beautiful - they all are but it's the coffee cream syndrome. You open the box, pop one in your mouth and then another and then ...
Congregation: Slightly churchy as the title implies. It's gently funky and all four are in the moment. There's a joyous feel about it. I wish it had been longer.
It's an excellent album once you become attuned to the overall mood. If I were a jazz radio presenter the tracks I'd be playing would be Lady Day and Congregation. Lance
*Pepsi Max!
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