The piano trio is one of the most flexible and dynamic vehicles for musical expression within the genre of jazz. The same can be said of the string quartet in the classical sphere. The intimate confines of both ensembles lead to a fantastic blend of group interplay and individuality expressed by the performers. Boundless possibilities of musical pathways within these combinations have made these the de facto ensembles for composers and performers within these genres. // Pianist/composer Nikolaj Hess has found much to say utilizing the piano trio and the string quartet over his career. Recently, it was his idea to interweave a string quartet together with a piano trio to create a septet, thus multiplying the colors and dynamism of sound that can be produced. Hess's gorgeous new recording, Spacelab & Strings, brings two ensembles from two musical fields together to amplify his artistic vision in a unique, sweeping way. // Hess grew up in the musically rich environment of the Jutland peninsula of Denmark. The area is well known for it's rich musical legacy and was also a regular destination for touring jazz musicians visiting Denmark. Hess's study of piano and violin gave him a wide exposure to classical and jazz music. Hess eventually settled on piano as his main expressive voice but continued to love the sound of the violin, even going as far as trying to emulate the violin's sound on the piano. // While growing up, Hess developed long standing musical relationships with bassist Anders Christensen and drummer Mikkel Hess (who is also Hess's brother). The regular partnership led to a trio that switched leadership depending on projects but has ultimately come to be known as Spacelab. The ensemble's time-honed rapport makes it an ideal amplifier of Hess's folk-inspired, Scandinavian-tempered music. // Butch Lacy and Horace Parlan were among Hess's teachers at the Copenhagen Conservatory and the first to introduce Hess to arranging and transcribing his musical thoughts from the piano to strings (and thinking in orchestral sonorities on the piano. Hess continued to study the art of string writing, studying the works of greats like Beethoven and Ravel. Opportunities to write for strings sprang up in commissions and films over the years, which include Lars Von Trier's Melancholia // Over the years, Hess collaborated regularly with violinist C�cilie Balling, the leader of Strings, the quartet featured on this recording, and co-producer of this recording. The other members of the quartet, violinist Christian Elleg�rd, violist Jakup L�tzen, and cellist Josefine Opsahl, are engaged in a wide variety of musical endeavors, from classical fare to improvised music, making the flexible quartet a perfect partner with Spacelab. // Nikolaj Hess has found a way to capture a very particular Scandinavian identity on his compositions that walk the line between classical and jazz repertory. The cinematic breadth of his musical talents can be heard on Spacelab + Strings, a wonderful meeting between musical entities of tremendous expressive capabilities.

Roberts's new recording, Science of Love, finds the longtime stalwart of the creative Downtown music scene returning to New York City, after raising a family in Ithaca, NY, in an effort to rekindle the vital, creative energy that only the metropolis can provide. Roberts discovered inspiration in droves, which allowed him to create a unique program of original music unlike anything he had done in the past. // Of course, Roberts has been well known for playing alongside music greats, like Bill Frisell, Tim Berne, and Joey Baron. He has also put together singular and celebrated ensembles of his own that cover a wealth of musical ground, including folk, rock, modern classical, gospel, and world music influences.

The moving performances on Mike Clark and Michael Zilber's Mike Drop show that kindred spirits can be found no matter the distance. Though both Clark and Zilber came from the West Coast, they found their connection in a love of the serious soul of one of New York City's distinctive styles: a seriously swinging, free range jazz.

A Note From Denny Zeitlin // George Marsh and I began our Sunnyside duo electro-acoustic recordings with "Riding The Moment" in 2015. "Expedition" followed in 2017, chronicling an exciting and enriching evolution. And now "Telepathy," consisting primarily of pieces recorded since then, finds us exploring broader and deeper dimensions of spontaneous composition as our attunement and musical vision continue to expand. // For listeners having a first contact with our duo, I'll repeat my remarks from our previous albums, since the set and setting remain the same. // This album, like "Riding the Moment," and "Expedition," has roots going back to the late sixties, when I began a decade of exploring the electro-acoustic integration of jazz, classical, funk, rock, and free-form music. My trio included Mel Graves or Ratzo Harris on bass, and throughout, the incredible drummer/percussionist George Marsh. We recorded and toured the West Coast, concluding this period with my electro-acoustic-symphonic score for the 1978 remake of "Invasion Of The Body Snatchers." // I then returned to a focus on acoustic solo, duo, and trio music for a couple decades, and George went on to numerous other projects. With the passage of the millennium, synthesizer and recording technological advances lured me back into a major and ongoing studio upgrade. "Both/And" (Sunnyside 2013) was devoted to the electro-acoustic domain as a soloist. And since 2013, George and I have musically re-united, and have been exploring the potential of duo electro-acoustic free improvisations-the co-creation of what we often refer to as "sound paintings." // Our goal has been to approach the music without a score or any preconception; to be as fully present as possible, "riding the moment," and allowing the music to go where it wants-without any constraint of genre, or fixed harmonic, rhythmic, or melodic structure. We hope our "telepathy" allows the emergence of spontaneous compositions that have freshness, beauty, excitement, internal logic, new sounds, and a sense of journey-an "expedition." Over 95% of this music was recorded in "real time" with one pass. On those occasions where I didn't have enough hands to play what I was hearing, I over-dubbed some orchestration or a solo voice. And in those instances, I typically went with the first take, to preserve the spontaneity of the project. // I believe you will hear in our interaction that George is a full partner in the co-creation of this album. To preserve acoustic separation during recording we were unable to see each other; we were carried by our shared musical vision, trust, and an extraordinary rapport. We often feel like we are some kind of galactic orchestra.

Pianist and Composer Dahveed Behroozi is a San Francisco Bay Area based musician. His focus is in jazz, classical, and new music. He is an active player both as a leader and sideman in the Bay Area, nationally and also internationally. // Behroozi's expansive musical palette comes from a wide array of places that almost seem endless. His musical frame of reference ranges from Bach, Brahms, Schoenberg, Alban Berg, 20th century jazz luminaries, as well as the rock and ambient worlds. // His main focus in music is improvisation. Behroozi approaches improvisation as a form of musical composition. It is within the improvisation, that over time, compositions begin to appear, take shape, and ultimately form. He's constantly striving to find new sounds and feelings in his work, and hopefully take the listener on a multi-sensory landscape, rather than just a sonic one. // Born in CA in 1981, the son of a classical guitarist, Behroozi quickly came into contact with the classical canon, and soon developed a strong interest in Jazz. By his teens, he became an active sideman in the San Francisco Bay Area, and would later go back east to study at the Manhattan School of Music, as well as Brooklyn College. It was during his time in NYC, where he was able to develop his sound and concept by playing and studying with some of the finest musicians. // Pianist Fred Hersch describes his playing as, "intense, immersive, emotionally fulfilling and musically deep."

MARCH 2020 saw much of the world shut down due to the COVID-19 outbreak. At first there was this foreboding sense of emptiness. Time slowed down. Our home, New York City, which is usually filled with energy and deafening noise, was silent. Every day seemed to be the same - empty. Grieving the loss of routine, we thought all we could do was wait. // In this stillness, we began to notice vivid swaths of color everywhere and sounds previously unheard. Each color seemed to have a unique sound - and meaning - attached to it. To preserve and share the experience, we chose a hue of color every day and created a painting and music composition to capture the mood and essence of the color and it's relevance to the moment in time. The result is the 14 songs and paintings on this album. We hope as you listen to the music and view the art, you will find our work calming in these times of uncertainty and return to it often as we navigate the aftermath of the pandemic and reflect on it's impact on our lives.

On his inspiring new album, Da F�, saxophonist and composer Dan Blake pays tribute to the and political activists who've offered him hope while adding his own singular voice to the out for solutions. // Da F� is an outgrowth of Blake's own activism. A practicing Buddhist since his college years, Blake has served since 2015 on the board of Buddhist Global Relief, an organization dedicated to combatting chronic hunger and malnutrition around the world. // Da F� translates to "of faith," and stems from the phrase "auto da f�," which refers to the burning of heretics during the Spanish Inquisition. While Blake changed the term to avoid direct reference to that historical context, he does see a connection in the fires blazing across millions of acres in California. // To provide his music with the tension and urgency it required, Blake enlisted a remarkable cross-generational band. He initially recorded with a quartet featuring pianist/keyboardist Carmen Staaf, bassist Dmitry Ishenko, and veteran drummer Jeff Williams. The latter was a member of the pioneering world-jazz fusion band Lookout Farm led by DaveLiebman, one of Blake's mentors in both music and activism. He then teamed with longtime collaborator Leo Genovese, with whom he worked in Esperanza Spalding's band, to reimagine the music in post-production via additional piano, synths and multiple saxophone lines.

Modern day record producers often find themselves in the unfortunate position of hiring studio fixers and technology experts to make presentable records. This project required none of that. Simply putting 4 masters of the craft together on stage at a jazz club in Los Angeles and engaging a Grammy winning recording engineer to capture it all over 2 magical nights of live performance was all that was required. The fact that Michael Wolff, Mark Isham, Mike Clark and John B. Williams had known each other for their entire careers only enhanced the whole enterprise. The camaraderie and mutual respect is apparent in every track. From the heartfelt ballads of Wolff and Wayne Shorter to the high energy of Wolff's Lagniappe" (the 13th treat of a baker's dozen), to the groove of Clark's "Loft Funk", the listener is included in improvisational music making at it's finest. So sit back and enjoy the ride..." -Nic. tenBroek, Producer (Los Angeles, CA)

There is only one way to enhance one's performance and that is to practice until there is a level of confidence in act, and pride in the outcomes. Guitarist and composer Diego Barber seeks new challenges relentlessly. His pursuit of excellence in all his endeavors has led him to the extreme heights of classical guitar technique, contemporary composition and long-distance running, all of these requiring grueling regimens of focused study. // For his new recording, Drago, Barber departs from his recent focus on blending contemporary classical music and jazz to focus on electronic music, utilizing elements from both the classical and dancefloor models. A two-year long study of Logic music programming has led the fleet fingered string specialist to eschew the guitar for the most part to focus on composing pieces in a new and highly personal way. // The incredible music on Diego Barber's Drago is a departure from his typical output but it also shows the development of an artist who accepts musical challenges and finds exhilaration in chasing the unknown.

The creation of music shares much in common with creation in the visual arts. Both musicians and visual artists speak of and deal in colors, hues and textures in their compositional processes. Saxophonist/composer Tobias Meinhart has developed near synesthetic visualizations as he performs and hears music. His new recording, The Painter, presents his recent work of diverse, brilliant pieces meant to brighten the world's canvas. // The ensemble that Meinhart assembled to record these new pieces consists of a number of the saxophonist's favored collaborators, including pianist Eden Ladin, bassist Matt Penman and drummer Obed Calvaire. Since his recent release and collaboration with Kurt Rosenwinkel, Berlin People (Sunnyside 2018), Meinhart has been drawn to the sound of guitar, thus the addition of his neighbor and friend, Charles Altura. These musicians, in this and similar configurations, have been the saxophonist's regular associates on stages like the 55 Bar and Birdland in New York City over the past two years.

Bass trombonist Jennifer Wharton might be considered by many as a unicorn in the world of music. In decades from the not-too-distant past, it was a rarity to even have a woman in prominent jazz bands and orchestras, but to have a bass trombone-slinging woman as leader was thought extraordinary. In efforts to highlight her perceived position as a rara avis, Wharton took it upon herself to not only raise the profile of women instrumentalists but also that of her chosen horn (and it's smaller cousins). // In 2019, Wharton presented her trombone-powered ensemble, Bonegasm, via it's self-titled debut album. Wharton enlisted fellow trombonists John Fedchock, Nate Mayland and Alan Ferber, along with the rhythm section of pianist Michael Eckroth, bassist Evan Gregor and drummer Don Peretz. // The overwhelming response to Bonegasm's music was astounding, cementing Wharton's assertion that this assemblage was no flash in the pan but an important exponent of shaping the trombone's primacy in jazz music. Bonegasm's new recording, Not a Novelty, wears it's intentions on it's sleeve, or perhaps more appropriately, tattooed on it's arm.

Natural Habitat is a collection of music composed over the last decade, much of it written around the time I moved from Boston to New York City. During my first few years living here, I would frequently travel back and forth to perform, and the excitement and energy I felt at that time is expressed in these songs. The title track is the oldest tune we recorded - when it was composed in 2009, the manuscript simply said "Untitled Swing". For a while, that title stuck and became somewhat of a joke when I would play it on gigs, but in 2018, I was back in Boston and found myself performing it again at the same venue (and with some of the same musicians) as when I had composed it nearly a decade before. The title Natural Habitat came to me, as it suddenly felt like I knew where that tune belonged. // The other music on this recording was written while I was settling into life in New York City - which now feels like my natural habitat, both physically and musically. I chose material for this project that represents how I feel living and working in this environment. The variety of meters, forms, and intensities heard in these songs mirrors the unpredictability of daily life here, but the excitement and energy I feel when performing in this city is unparalleled. -Michael Thomas

The Rooibos Quartet is one of the outstanding ensembles to emerge from Charleston's fertile scene. Assembled by young guitarist Jesse Shafer, the quartet, which features pianist Tyler Sim, bassist Fisher Wilson and drummer Kain Naylor, presents their debut recording, Rooibos, a collection of original tunes from Shafer that showcase the quartet's particular blend of contemporary and classic jazz styles with a laid-back Southern demeanor. // Originally from Nashville, Shafer was drawn to the small but strong jazz department at the College. The guitarist already had a strong knowledge of folk and bluegrass playing upon his arrival. Shafer was fully immersed into jazz by his school friends, investing time in the study of jazz crossover legends Chet Atkins and Les Paul, then into progressives like Bill Frisell and Marc Ribot. // While he was working in a local music store, Shafer met drummer Naylor. The two began performing regularly around Charleston, where the album's producer, Wolfgang Zimmerman, a local recording engineer, began following them. Bassist Wilson were friends through the College and when the trio was placed together with pianist Sim on a gig, The Rooibos Quartet was born. All the members of the group are current or former students at the College.

Saxophonist Abraham Burton and pianist Lucian Ban come from two distinct backgrounds but founded a long-lasting relationship based on friendship, trust, and their collective passions, most notably their focus on melodicism and jazz feel. Their new recording, Blacksalt, encapsulates the sympathetic nature of their pairing in a freely played collection of pieces, composed and improvised, and pristinely recorded live on tour in Ban's native Transylvania in 2018.

The creation of music as a collective art requires participants who are open and engaged. The essence of ensemble jazz music is the collaboration between elements, including sound and time and the musicians and audience. Pianist/composer Todd Cochran views these interchanges of energy and emotions as positive forces for change in the world. // Cochran's musical interests have always been vast in their outlook, from the avant-garde to fusions of jazz and rock. As Bayet�, his sound can be heard on albums that push the bounds of genre, from Santana and Automatic Man's arena filling rock sounds to the explosively spiritual world of his own records. The element that has never escaped Cochran's work has been the blues esthetic tied to jazz's legacy, which he re-embraces on his new recording, Then and Again, Here & Now. // Growing up, Cochran found a middle ground between the dimensions of the intellectual and spiritual when he discovered jazz music. His parents and grandparents were highly educated and motivated him to become the same. That led to his serious investment in classical piano study; performing and entering competitions as early as when he was just eight years old. The influence of his grandmother's evangelical faith was never far from Cochran's music, as he learned to express a particular mood by playing during church services. // His cousin introduced him to jazz at 13 and Cochran found a parallel, magnetizing pulse. He began to revisit his parents' collection of Oscar Peterson and Ahmad Jamal recordings, transcribing and analyzing them so he could apply their lessons to his own music. It wasn't long before Cochran was reaching out to local jazz leaders. At just 17 years old, he found himself performing alongside the likes of jazz masters John Handy, Mike Nock, Bobby Hutcherson and Rahsaan Roland Kirk. // Though his own music would branch out dramatically from his earliest jazz grounding, Cochran always remained in touch with the blues element of the music. Now after a ten-year hiatus from recording while nurturing his son into adulthood, Cochran has returned to the music that has given him so much joy and that he feels is necessary to reinvest in for the betterment of society. // To assist him in his efforts, Cochran enlisted bassist John Leftwich and drummer Michael Carvin. Leftwich has been an important voice in the West Coast's vibrant music scene for decades and was introduced to Cochran twenty years ago via Freddie Hubbard. The legendary drummer became a part of the pianist's world even earlier through collaborations with Bobby Hutcherson. Together the Todd Cochran Trio is a tremendously vibrant and cerebral ensemble that breathes life into any piece they endeavor to touch. // As musical context changes over time, it is important to revisit compositions that have withstood the times and continue to provide themselves as vehicles for expression. Cochran is fascinated by the idea of reinterpreting standards and the American song book, to investigate the time and climate of their birth and to then reaffirm their greatness by informing them with the developments they have lived through. It is an all-encompassing expression of culture spanning time. // Then and Again, Here & Now presents a collection of these stalwart compositions reimagined by Cochran and his trio. Cochran's philosophy of the development of music through the passing of ideas from generation to generation through evolving syntax can be heard in the approaches that are taken on these pieces. Though experimenting and taking liberties with these classics, the trio remains responsible as keepers of the flame and protectors of the blues vernacular.

Lossing's latest recording, Metamorphism, is an extension of his continually evolving compositional identity. Here he presents eight original compositions, each written with it's own particular strategy for interplay among a stalwart ensemble of longtime collaborators. It is only with musicians with whom he has established a deeply felt musical connection that this music could actually be realized. // The members of the quartet have been regular collaborators with Lossing for decades. Each member of the ensemble is a unique instrumentalist with a broad palette and ability to play many styles without conforming to established sounds. Lossing met Michael Sarin some thirty years ago when the drummer moved to New York City from Seattle. Sarin's pairing with bassist John Hébert, already a longtime associate, provides a variety of rhythmic and harmonic feels necessary for Lossing's pieces. Lossing was a member of Loren Stillman's first recorded ensemble, when the saxophonist was only 14 years old, and their musical affinity has grown exponentially over the past 25 years. The ensemble is crucial to the success of the pieces. The open, impressionistic sensation of Lossing's tunes has been one that he has always aimed for.

It is hard not to be moved by the singularly brilliant voice of Charles Mingus. In reinterpreting his tunes and those of other Black voices, Stephanie Nilles knows that she is privileged and remains sensitive. She also knows that the fight against racism is a universal cause and that the power of Mingus's work artistically assists that cause, thus the creation of her moving new recording, I Pledge Allegiance to the Flag - the White Flag.

It was his move to New York City that led to the development of the music on 3, 5, 8. While completing his master's degree in jazz studies at New York University, Duvignau was able to meet a number of musicians who would help shape his sound and approach to composing. Duvignau was introduced to Argentinean pianist Santiago Leibson at a recording session and they hit it off immediately. Leibson called the great drummer, Jeff Hirshfield, for one of their initial meetings and the three found a quick rapport as they began to play regular sessions and a handful of gigs. // While at NYU, Duvignau studied with the illustrious saxophonist Billy Drewes. Drewes was an inspiration, not only for his incredible playing, but for his compositional practice. The young bassist had become burnt out by writing highly involved compositions. Drewes recommended the practice of writing every day, no matter what came out. This helped Duvignau break through his writer's block and focus on developing a simpler, more spontaneous compositional style. // When the opportunity to record came about, Duvignau wanted to form a unit of openminded and flexibly expressive players. He invited his trio mates, Leibson and Hirshfield, and added Drewes. Duvignau also brought in German guitarist and fellow Berklee alum Elias Meister to bring a blues-inflected energy into the quintet's mix.

Guitarist Ben Monder set out with the intent of recording a studio album with longtime collaborators, saxophonist Tony Malaby and drummer Tom Rainey, but circumstances led to a more informal situation, providing a visceral glimpse of these stellar musicians' rapport. // The performance world was on the brink of shutting down in early March 2020 due to the appearance of COVID-19. Monder decided to take the opportunity provided by his monthly Tuesday residency at New York City's stalwart jazz club, The 55 Bar, to present a recurring project with Malaby, a bass-less trio with drums. Rainey commanded the revolving drum chair on March 3rd and the two sets were recorded as a remarkable live document of fully improvised music making from three masters, released now as Live at The 55 Bar. // Three long improvisations were recorded that night, each piece unfolding organically. The ebb and flow and the building of tension to release demonstrate just how confident these musicians are in their craft of composing on the fly, in full control of their musical choices. The recording was made by the brilliant producer Joseph Branciforte, who was able to provide gorgeous studio quality sound and help with the narrative arc for the completed recording.

Brothers Nicki and Patrick Adams have a natural bond that most musicians can never approximate with their peers. Their common upbringing and interests have also given them the idea to blend the aural tradition of jazz with the more written one of classical, with a unique approach that makes their efforts seem buoyant and natural on their new recording, Lynx. // The two perform together in a number of configurations, leading their own ensembles, and collaborating with bands of many different styles. They also have collaborated with many of jazz's finest, including Francisco Mela, Robin Eubanks, Corey Wilcox and Mike King. // Their debut recording as a duo, Lynx, takes it's name from an Arizona lake that the brothers frequented during their boyhood years, solidifying bonds both fraternal and musical. The project evolved after Nicki began to reinvestigate classical pieces that he had played or listened to before he devoted his attention full time to jazz. Rather than study scores, the pianist relearned the pieces by ear in an aural learning approach more utilized by jazz and folk musicians. Nicki felt that this approach allowed him more insight into the creative choices of the composers.

Guitarist/composer Davy Mooney knows just how special these experiences are and wanted to capture the essence of their magic on his new recording, Live at National Sawdust. On the recording, Mooney brings together his incredible Hope of Home band, featuring saxophonist John Ellis, pianist Jon Cowherd, bassist Matt Clohesy and drummer Brian Blade, to play old and new material for a receptive group of listeners at Brooklyn's National Sawdust and to conjure a fabulously warm and heartfelt performance that can be revisited over and over. // Mooney and the Hope of Home Band assembled at National Sawdust on January 27, 2020 with engineer Sascha von Oertzen. Of course, live recordings have their challenges. The performers have to consider the audience and can not just start over again. But that is precisely why live recordings can be amazing. The emphasis on being in the moment supercedes the idea of perfection, typically producing compelling performances. // The pieces that Mooney brought to record were a mixture of staple pieces from his repertoire going back for nearly 15 years and new pieces that were written with the promise of this recording. Some of the older pieces are rarities that the guitarist brought out from his first recordings from 2009, Astoriano and Last Train Home, a duo album with John Pizzarelli.

Born to an American mother and a German father, Roemer grew up in a bi-lingual household in Frankfurt, Germany. She began piano lessons at six and then began singing in church and with a traveling choir; her first efforts at songwriting took place by the age of nine. Roemer was taking classical voice lessons as a teenager when she met a professional pianist who invited her to sing popular tunes and standards with him at a local lounge, and soon they were performing together regularly. // Choosing to continue her music education, Roemer received a scholarship to attend Concordia College in Minnesota for a year before she returned to Germany. Roemer enrolled for her bachelor of science at Frankfurt University but soon impulse led her to move to Paris, where she spent three years performing regularly at cabarets and clubs and hosting a jam session, along with studying vocal jazz at the Paris Conservatory. On a summer trip to New York, she fell in love with the City. Roemer moved to New York soon thereafter and dove directly into the jazz scene there, performing regularly at Rockwood Music Hall, Jazz at Kitano Hotel and Cornelia St. Caf�, and completing her Master of Music in jazz studies at Queens College. Roemer was anxious to record as soon as she arrived. One of the many musicians she met was bassist Alex Claffy, whose enthusiasm for collaboration motivated Roemer to push through the production of House of Mirrors. Roemer set up recording dates and they brought on pianist Addison Frei and drummer Adam Arruda.

Regarding the trio on this recording: every beat Buster Williams plays is imbued with tremendous individuality and power. Billy Hart's shimmering ride cymbal is a constant revelation. Billy turned 80 the week of this recording, and Buster is close in age to Jarrett. // This album is dedicated to Keith Jarrett and his incredible body of work.

Pianist Noah Haidu has etched out an uncompromising identity as a pianist and composer by balancing cutting edge songwriting with stirring improvisations. On his new Sunnyside release Doctone, Haidu reaches a new level of self-expression while exploring the work of one of his major influences, the late Kenny Kirkland. As Noah writes in the liner notes: "Doctone is the first recording dedicated entirely to Kirkland's original music. I view Kenny as the most unique composer and pianist of his generation. Because he died young and avoided the spotlight, his brilliant compositions have been overlooked for too long."

The title of saxophonist/composer Adam Kolker's new recording, Lost, comes from a composition by the legendary Wayne Shorter, an obvious master of thoughtful intention and extemporaneous expression. Kolker has sought to find a similar esthetic in his own work and has achieved that on his new recording that finds him in the company of an ensemble of friends, making fantastic, explorative music without ego. // Kolker's initial concept for this recording was for it to be a collection of Shorter's pieces. But as time went by, Kolker realized that everything that he writes or plays utilizes Shorter's influence as inspiration; Shorter was one of the main innovators of the modal harmonic revolution, which brought on moods and tensions being generated by the use of certain modes. This realization freed the recording of conceptual restrictions and allowed for a broader array of expression from the exceptional ensemble that Kolker put together. // The quartet that was assembled includes longtime collaborators and friends, all equal in making this remarkably communicative music. Pianist Bruce Barth has been a sounding board both on and off the concert stage, his ease and wit fitting easily alongside Kolker. Bassist Ugonna Okegwo remains one of the steadiest timekeepers and most powerful accompanists. Drummer Billy Hart is remarkable on every level, bringing energy and an air of professionalism to everything he does.