Brian Landrus: Just When You Think You Know

Brian Landrus, best known for his eloquent performances on baritone sax, shows his versatility—as player, composer and arranger—on Just When You Think You Know, his tenth album as leader, adding tenor sax, bass clarinet, flute, alto flute and bass flute to enlarge an impressive arsenal of musical weaponry. In fact, Landrus unlimbers the baritone on only three of the album's fourteen eclectic numbers—all of which he wrote and arranged. He plays tenor sax on five selections, one or another of the flutes on four.

While that surely suits Landrus' game plan and may enhance his self-image, more baritone and less innovation could have led to a more suitable and pleasing outcome. As it is, Landrus presides over an able quintet whose main assignment is to clarify his assorted charts, which it does quite well. The problem is that several of those themes, even though well-written, are no more than passable and would be far better served by the addition of, say, a well-spoken baritone sax.

The studio date starts well, with Landrus on bass clarinet for the sunny, no-frills "All in Time," flute on the lyrical "Continuance," and baritone on "Untold Story" and "One Year." The baritone reappears on track six, "Averse," and is thereafter confined to its case for the remainder of the session. More is the pity, as its muscular presence is sorely missed. The quintet soldiers on, reinforcing Landrus' pleasant tenor on "Dear Fred," "Beyond" and three more numbers, his flute(s) on "El Perro Sigma," "Under Dark" and the closing "Paroxysm." The bass clarinet is used once more, on the easygoing "Trance."

Guitarist Dave Stryker fashions several trim solos, as does pianist Zaccai Curtis, while bassist Lonnie Plaxico and drummer Rudy Royston keep the rhythm flowing, their task made easier by the low-key ambience that permeates the session. A congenial yet by and large innocuous album that clearly showcases Landrus' sizable talents but doesn't offer much beyond that.