Lakeland Jazz Festival 2013: Kirtland, Ohio, February 22-24
On "The Sirens," a more forlorn song was sent down, the bass clarinet's warning call from the album replaced with a dirge that was already mourning the travelers at the moment they sailed into the sirens' radius. Later in the piece, Grenadier's bowed bass solo drew out the Indian melodies swimming just beneath the tune's surface. Indeed, there was a sea-like quality to this entire set of music, the instrumentalists riding waves to their height in a tumult, dipping into valleys of relief and often allowing one song to drift on into another. And there were the dry land breaks from the Odyssey suite that generally discarded the mood in favor of full- throttled wailings. Chief among these was "Four in One," on which Potter blew a tenor bop solo that shot through the music like a multi-threaded, metal cable, tightly coiledsuch was its propulsion and precision.
When the band stepped back on stage for "Darn That Dream," it opened in a decidedly romantic mood, with Potter's tenor purring over Harland's lush brush work. But later Potter's playing became more agitated (a baby in the audience even let out a few startled cries upon hearing the switch) then dipped into the pools of regret and longing that always keep lost dreams company. A crescendo with bowed bass and mallets pounding the snare drum lifted the song to its close. A final mallet shot ended it. And the dream was over.