Word: soloed
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Dates: during 1990-1999
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Indeed, Roney is the highlight of this album. From his patient solo during the hyperspeed album opener, "So What," to his uncanny imitation of Miles himself on "All Blues" (harmon mute and all) Roney clearly is in his element. In part, Roney sounds so good because his open sound leaves plenty of room for the rhythm section to strut its stuff; pianist Hancock, bassist Carter and drummer Williams have never sounded better, tight as all hell and at the same time creatively lyrical. Carter's dazzling clarity, Hancock's chord driven, percussive flair, and Williams' inventive and at the same...
While Rice' mind-blowingly fast and perfectlyclear finger-picking style pervade every song,some of the tracks stand out. Rice's solo on"Ain't Nobody Gonna Miss Me When I'm Gone" amazesthe listener with its speed; at the same time itsounds as if it would retain all of its sparklingbrilliance and originality even if slowed down tohalf the speed. The album's opener, "I've WaitedAs Long As I can" highlights both Rice's lead andrhythm playing and his band's rich harmony vocaltechniques...
...dynamo Bobby Watson on alto sax blasted out the tunes' head. The roles were set from then: Soloff showing incredible range in high notes mixed with David-like licks in the middle range, Watson with veritable sheets of sound wailing, and Jackson with a mature and noticeably improved opening solo. Running alongside, bassist Richard Reid was consistent and swung well, while drummer Louis Hayes' creative intensity locked with Williams' comping style. Williams' own solo included everything from neo-bop lines to booming bass octaves with his left hand, putting his own mark on the tune...
Next was a brisk tempo 50's tune, "Janine," followed by a Williams piano solo. This solo number was Williams' chance to express himself, without the flashiness of the horns, especially Boddy Watson, to crowd him out. What Williams offered was very beautiful, if curious. He played an old gospel tune, interspersing pop harmonies with lots of polychords reminiscent of Keith Jarrett's style...
...Footprints." Drummer Hayes launched the band off on a simmering version of this '60's jazz classic. This tune featured Soloff's trumpet paying homage to Miles, and he did so in grand fashion. The piece built from a melancholy, loping waltz to frenzied round of everyone's best solos. Soloff first pointed his trumpet towards the sky and tossed out notes, then engulfed the microphone with his horn's bell and a smattering of Miles' licks. Williams closed his eyes for much of this tune, moving his head slowly side to side as he listened to his band. Watson...