Lindsey Horner: Don't Count on Glory

While Don't Count on Glory is first and foremost a bassist's album, Lindsey Horner also taps baritone sax, bass clarinet and whistles to add to its already broad soundscape. Recruiting some fifteen other musicians, Horner mixes and matches the likes of Marty Ehrlich (alto), Brian Lynch (trumpet) and Uri Caine (piano) to create a surprisingly cohesive statement. This is primarily due to the strength of the compositions, combined with the presence of drummer Allison Miller and guitarist Pete McCann, who anchor these cuts, along with Horner.

The distinctive angularity of "Last Look Home is beautifully augmented by McCann's chordal touch, which leads into the extended title cut, featuring a meeting between Lynch and Ehrlich to generate a single glorious voice. Mood changes induced by Jeff Berman's array of percussive instruments and Caine's soulful electric piano make this a highlight.

Horner's writing has a great deal of substance, and these players are deftly able to exploit it. The chamber feel of "I Stand by your Window is exposed by bass clarinet, alto and trumpet. Funk meets jazz on "Gyp the Blood, and both electric and acoustic pianos add contrasting emotions to a lovely "Cuong Vu. Monk's "Green Chimneys is reborn under the guidance of percussionist Jeff Berman and Horner's slick lines, before an astonishingly relaxing textural change occurs as "Shadow Girl arrives on Horner's low whistle, McCann's classical guitar and Neal Kirkwood's piano.

"Too Too Blue has drummer Bobby Previte and Horner setting up a palpably juicy blues experience for all to explore individually. McCann rocks out, Lynch dazzles with his horn, and Ehrlich takes it home with some good old-fashioned blowing. This is a very well put together session featuring strong tunes that gel stylistically.