, for example used it as a supplement to her keyboards, while Adele Girard, played it like a boogie woogie piano. Others like Janet Putnam and Betty Glamann were relegated to a rhythm guitar role in bandsvery few approached it as a frontline instrument. Of those few, perhaps, the most preeminent representative is Dorothy Ashby
on the surreal lullaby "Rotadendron"a musical fairy tale that ends in a tango and that conjures images of magical beings flying in a starry night's sky. The standard "Every Time We Say Goodbye" transforms into a nocturne with a deep vibe as Robbins' romantic tones mirror Darek Oles' walking bass lines.
Robbins' skills as a composer match her virtuosity as an improviser and interpreter. Her ethereal sound, colored the right amount of blue and peppered by Latin hints, creates a romantic mysticism on the title track. Childs' smooth flowing pianism and Meek's mellifluous saxophone enhance the mood. The up-tempo, boppish "Straight away" is a multifaceted opus where Childs' soulful keys and Robbins' almost Zen like strumming, alternate with Meek's joyous clarinet and Gary Novak's polyrhythmic drumming. The piece ends in an exuberant and angular group play.
This one of a kind record joins the handful of jazz-harp classics, like Ashby's In a Minor Groove and Deborah Henson-Conant