, and casting them in a fresh light, arranger Heiner Stadler obviously wasn't shy about playing the provocative agent. Initially it sounds as if he was intent only on realizing music that was as far removed from the source material as possible. However, upon repeated exposure to his recasting, it's clear that his effort and that of the crack band is a combined exercise in alternative realization.
Monk's "Ba-lue-Bolivar Ba-lues-are" comes closest to bridging the gap between tradition and innovation. Such is the nature of Monk's music that the distinction between tradition and innovation is arguably superfluous, and when Reggie Workman
's bowed bass takes up the story he makes the point persuasively. The scrabbling horns are redolent of all things free but the music's progress is the stuff of shared endeavor, with the sharing encompassing the late composer.