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This is the second SACD release by Wayne Horvitz's chamber jazz quartet (the first being Way Out East, 2006), featuring Wayne (piano), Peggy Lee (cello), Ron Miles (cornet) and Sara Schoenbeck (bassoon). Some of the new compositions sound even more like classical chamber music, but as before, improvisation plays a major role, and there's a lot of synergy in the way the music comes together: as Wayne says, "The compositions are so open, and the band is so flexible..." The performances are classical in their precision, jazzy in their mutable blends and their grasp of expressive possibilities. Wayne's writing is as emotionally resonant as ever, and in bringing the music to life the band spins webs of musical relationships. Ron Miles' cornet glances back in the direction of New Orleans and early Ellington, while Peggy Lee's cello free associates Bach, Beethoven, Bartok, and beyond. Sara Schoenbeck's bassoon provides wittily baroque counterpoint or contemplative melodic lead according to the circumstances, while the piano's runs, motifs and clusters suggest links to impressionism, and occasionally to atonality. In other pieces different sets of connections take shape. How to label this music is a marketing dilemma. If it's the Third Stream of today, it holds within its sights the new thing, free improv, and indeed everything else that happened in jazz, popular and 'art' music in the twentieth century (and the 21st, given their cover here of Elliott Smith's "A Fond Farewell"). Horvitz comments that combining jazz and classical elements is in fact "a fairly obvious process, and it's one with a long history...Blues was the first music to really move and inspire me. As my friend Philip Johnston once said to me, 'You know how you are listening to a record of Japanese koto music and for a moment it sounds like John Lee Hooker?' I would say the same thing about a Bartok string quartet." Audiophile production in stereo and 5.0 reveals the music in all its beauty.

Track Listing

Sales Points

• For fans of Bill Frisell, Bill Evans and John Zorn.
• For fans of Bill Frisell, Bill Evans and John Zorn.

Press Quotes

Horvitz's mix of Erik Satie-meets-Lennie Tristano stylization is One Dance Alone's shining beacon, even when it's hiding within the shadows.

     —A.D. Amorosi, Jazz Times

...music that will draw you in, force you to examine your core beliefs, and then have you reaching for the repeat button to luxuriate in this exotic mix again...The sound of this PCM recording is excellent.

     —John Crossett, Soundstage.com

Horvitz's mix of Erik Satie-meets-Lennie Tristano stylization is One Dance Alone's shining beacon, even when it's hiding within the shadows.

     —A.D. Amorosi, Jazz Times

...music that will draw you in, force you to examine your core beliefs, and then have you reaching for the repeat button to luxuriate in this exotic mix again...The sound of this PCM recording is excellent.

     —John Crossett, Soundstage.com