I Long to See You [LP]

Saxophonist has been working with guitarists periodically since the 1950s: , , and others have played in his bands. On , he (with his stellar rhythm section -- bassist and drummer ) renews that relationship with two gifted players: and (the latter on lap and pedal steel). This program yields folk and spiritual songs, re-recordings of 's own tunes, a pop nugget, and a new original. In what feels like the input from the label, there are two guest vocal appearances to boot: beautifully delivers 's antiwar classic "Last Night I Had the Strangest Dream," and offers a slow, dreamy reading of "You Are So Beautiful." feels more like a collaboration between than a leader date, which is sometimes problematic: these men can be overly deferential to one another. The album starts promisingly with a brooding read of 's "Masters of War" that threatens to explode at any moment. (who have worked together a lot) take it through deep winding blues, building tension before enters and carries it toward the outside before returning to blues, while 's circular drumming becomes somberly hypnotic. plays flute on "Of Course, of Course" (originally recorded for an album of the same name for in 1964). Like its predecessor, it's tough, swinging post-bop with colorful slide guitar work and rim-shot syncopations. "La Llorona," from 's years, is a standout: it captures his open, mournful, Spanish-tinged wail, fleshed out by elegant, timbral guitars, a sad bassline, and 's magical timekeeping. "Shenandoah" (which has recorded before), "All My Trials," and "Abide with Me" are all melodically attractive, but they lack the undercurrent of passion has imbued traditional material with in the past. He and appear so seduced by their melodies, they treat them as fragile objects, not songs whose meanings need to be further explored. 's speculative solo intro on "Sombrero Sam" is overly long; 's rhythmic sweeping flute doesn't enter until five minutes in, and slips out too quickly. The lone new tune, "Barche Lamsel," more than compensates. Over 16 minutes in length, it's easily the most exploratory thing here. It commences slowly but starts cooking five minutes in. and the rhythm section are at their modal improvisational best, moving through folk, funk, blues, Eastern modes, and post-bop. lend fine solos as well as layered textural and atmospheric support. The tune is a journey that ends in a question mark. is well worth investigating even if, at times, it is overly tentative. ~ Thom Jurek