Costumes Are Mandatory

In his liner notes to , pianist states plainly that this recording documents "the four of us in dialog with the school." That dialogue includes argument. Alto saxophonist , of course, comes directly from that school; was his mentor. At 85, is one of the music's most iconic and constant improvisers and he shines here. Of these 14 cuts, eight feature him and , with bassist and drummer -- the rhythm section of 's trio. The rest are trios, solos, or duets. There are numerous surprises, including two versions of 's "Blueberry Ice Cream." It's a blues and doesn't usually play them. But it's where he came from -- he was a vocalist in a jump band originally, and the pianist composed it with that in mind. 's walking bassline establishes the 12-bar notion, and begins a harmonic inquiry into , while moves right into the middle of the blues with that airy, dry tone of his, speaking sparely yet insistently. "Try a Little Tenderness" is a set watermark, commencing with a ghostly piano intro that touches on gospel, allowing the hint of the melody in impressionistically before bringing it in wholesale. uses a mute on the first chorus. When the rhythm section enters behind him, he dumps it and stretches the lyric to the edge, while never losing its languid beauty. overdubs his piano, solo, on an intro version of 's "It's You," in homage to 's examples from the 1950s, before the band plays their own. On the latter, directly opposes by channeling -- his least favorite pianist. 's walking bassline keeps the track anchored as plays another no-no: a busy syncopated cadence, much freer than the original. also extrapolates on the lyric and makes it elastic, deconstructing it in his solo. Another gem is the alto and bass duet on "Body and Soul," which is full of deep dulcet tones by both players as they move through, around, and inside the lyric almost symbiotically. attempted in vain to get to play on the R&B standard "Blueberry Hill." But the way the pianist pulls apart the harmony beginning with the second chorus is remarkable for being simultaneously knotty and elegant. No dialogue with would be complete without a reading of 's "317 East 32nd." claims the saxophonist agreed to play it grudgingly, but it is a compelling encounter nonetheless. The pianist approaches the harmonics from the back end, while the saxophonist inverts his own ideas of its lyric -- only touching on the head at the end -- and 's skittering cymbals almost strut against 's walk. is anything but a conventional recording: these players communicate, inquire, and argue with one another as much as they do and seem to delight in the process, which is a reward for any jazz listener. ~ Thom Jurek