Roberto Magris & The JM Horns: High Quote

Italian-born pianist/composer Roberto Magris, a paradigm of kinetic energy, records so many albums they can't seem to release 'em fast enough. Although High Quote, on which Magris leads the JM Horns (for JMood Records), was recorded more than a decade ago—in November 2012—its release date was for purposes unknown delayed until 2023.

Whatever the reasons, it would be hard to believe they had anything to do with the quality of the music, which is by and large up to Magris' usual high standards. His sunny charts, patterned after those of some of his West Coast peers—Marty Paich and Bill Holman among them—are (with one possible exception) sharp and persuasive, and his nonet—comprised of splendid Kansas City-area musicians—nimble and supportive.

Besides arranging everything and playing eloquent and tasteful piano, Magris wrote six of the album's eight numbers. Paich was clearly the model for the upbeat opener, "High Quote," which introduces tenor saxophonist Matt Otto whose influences (on that number, at least) seem to include Allen Eager, James Moody and Stan Getz with a dash of Zoot Sims tossed in for good measure. Magris and trombonist Jason Goodeau also solo effectively.

Magris' "Together in Love," the first of two unassuming vocals by Monique Danielle, follows, as does "Black Coffee" (taken at a brisker pace than usual), on which Danielle is once again featured, and the album's lone outlier, "Hong Kong Nightline/The Island of Nowhere." While the Far East-centered theme has its moments, they aren't enough to warrant its nearly thirteen-minute playing time, even though drummer Brian Steever and percussionist Pablo Sanhueza spearhead a daring rescue mission.

The even-tempered "Steps in the Dark" restores the swinging vibe, as do "The Endless Groove" and "Naked Tina Serenade" (far more charming than its name) before "The Changing Scene" seals the deal. Magris, Otto, Goodeau, alto Jim Mair and bassist Elisa Pruett are the soloists, leaving only trumpeter Josh Williams and baritone Aryana Nemati devoid of blowing space—but they should nevertheless be mentioned, as they contribute greatly to the ensemble's sonority and complexion.

While High Quote represents a slight departure for Magris, who is more often heard in smaller-group settings, the results of his ability to adapt are undeniably clear on this first-rate—albeit long-delayed—session.