At the End of the Day is a refreshing modern jazz statement with strong original compositions from its nucleus of bassist Carlo DeRosa, pianist Enrique Haneine, and drummer Allison Miller. Contrasting grooves are united by the musicians' sparkling percussive twists and turns.
The title piece is a Haneine composition that, with its relaxing piano-led tempo, would be a most welcome respite for one's cerebral regrouping after a long day. A second wind, however, is provided by DeRosa's invigorating bass solo, which serves to rejuvenate the psyche in preparation for the physical demands of Miller's briskly moving "5 AM Stroll. In addition, Haneine contributes the sprightly percussive "Gerber Blender and the delightfully open "We Apologize for the Inconvenience. The former titillates with varying thematic content and textures courtesy of DeRosa's arco work and Miller's percussive toys, while the latter features Shane Endsley's sharp overdubbed trumpet lines.
DeRosa also supplies three originals which highlight his newly developed rhythmic affiliation with Miller and allow Endsley to reveal both his versatility and keen sense of time. "HB begins in unhurried fashion with leisurely trumpet lines before Haneine significantly picks up the pace. Endsley eventually returns, but DeRosa quickly shepherds the piece in a different direction. The trio reconvenes with Endsley to retrace its way home.
"Forotto is a joint venture in changing meter that is beautifully colored by both piano and trumpet; it sets the stage for the pensively free "A Phrase. With a melodic Latin twist on Sonny Rollins' "Pent-Up House and a freeformish restatement of Wayne Shorter's "Nefertiti, At the End of the Day, with its stylistic breadth and solid rhythmic core, is musically apropos any time, any day.