George Schuller's Circle Wide: Like Before, Somewhat After

"Dewpoint" is one of two original tracks on the record, the others being respectful but bold reinterpretations of pieces by Keith Jarrett's 1970s American Quartet. The tune showcases no gradual crescendo; from the very first note, Donny McCaslin's bulging, swollen sax notes and Tom Beckham's understated velvety vibes support a powerful performance, testifying to a diligent vision of what a solid piece should sound like—important, but subtly mischievous. The whole track is an exploration of a saturation point, thick notes delivered with an intentional just-right precision with McCaslin's sax as the explosive, but not bombastic, protagonist. It is the precision with which all the instruments collide with elegant eccentricity that makes "Dewpoint" so enjoyable. Nothing is too over-the-top, and although McCaslin clearly steals the show, he does so in an impressively understated way. Listeners won't have a problem picking out, or pointing out, the powerful presence of the other instruments.

And what to say of "De Drums"? The first few seconds deliver one of the album's most exciting moments, presenting slow, steady notes that don't deliver their potential immediately and create a sense of anticipation that is teased, steadily and expertly, by the slinky percussion, authoritative sax harmonies and playfully somber drums. There is a pause of almost insignificant duration less than halfway into the track which allows sneaking in a breath before taking in the rest of the track. By the end of the piece, heart rates will quicken and pupils will dilate. Increased heart rate is nothing but a physical symptom of something called love, and falling in love with these pieces on Like Before, Somewhat After is one physical phenomenon that even those left-brained can understand with ease.