![]() ![]() ![]() ![]() His flute playing on Horace Silver's "Peace," along with the rhythmic invention put forth by Moss in the intro, throws the listener when the beat comes kicking back Latin and Thomas moves into high gear. The beautiful acoustic guitar intro to "Lush Life" whispers with Thomas' tenor, as the saxophonist offers up one of his most breathtaking and profoundly lyrical performances ever put on tape. When the band kicks it all the way in, it's a hard bop sprint with a killer bass solo by Cox. The ripping intro to "Angel Eyes" sounds like an outtake from Interstellar Space. Metheny leaves his euphoria-driven approach in the wings this time and becomes an impressionist, offering knotty counterpoint on "The Best Thing for You" as Carrington double- and triple-times the band, all the while pushing the syncopation into ever more angular directions. As such, his own reed and woodwind playing and Metheny's guitar in the front line are perfect foils for one another. Thomas' methodology is one of tearing everything out but the tune's original melody and restructuring it from inside. ![]() Thomas assembles a stellar cast on this outing, including guitarist Pat Metheny, pianist Tim Murphy, alternating bassists Anthony Cox and Ed Howard, drummer Terri Lyne Carrington, and percussionist Steve Moss. This set, a collection of jazz and pop standards radically reharmonized and annotated rhythmically, is no exception. Saxophonist Gary Thomas' records have been nothing if not provocative. ![]()
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