Roberto Magris Quintet: Mating Call

Magris' "Optional Man" opens the set with a catchy melody, led by Carr's soprano and a call-and-response from O'Neill, as the music moves briskly to include inevitable solos from the pianist and bassist, who sets up a calm finale. Magris plays electric piano on "Hill of Illusions," as the band begins in semi-funky territory and turns to a more hard bop settting on the wings of Carr's devilish soprano lead. O'Neill digs right into the music with a challenging phrasing of his own, with Magris eventually taking over with a taste of wizardry on the keys.

J.J. Johnson's "Lament"—originally written as a slow ballad—is rearranged here as an up-tempo piece with a Latin-tinged bounce and plenty of swing, featuring Muhammad's slow rumbling drum solo with the reed men playing in harmony. One of the lighter moments occurs on a gorgeous interpretation of Fred Lacey's ballad, "Theme For Ernie," marked by O'Neill's soulful, floating tenor lines. The pianist uses this occasion to demonstrate his appreciable chops with a notable performance.

Tadd Dameron's title piece takes on an entirely new twist, revisited here in a darkly hypnotic, medium tempo rhythm, extending past thirteen minutes in length in what seems like a departure from the album's main course. In stark contrast, "Europlane Blues" delivers a lively upbeat texture, incorporating a snappy swinging rhythm led by Magris' bluesy chords. Leonard Bernstein's closing "Lonely Town" is all Magris, performing a solo piece whose light touches turn into a breathtaking, command performance as his right hand covers the keys in blazing speed.

A remarkable performance by one of the world's finest jazz pianists, Magris continues to impress jazz audiences from Europe to Kansas City with Mating Call, providing another shining example of this artist's boundless potential. The music here is not typical or ordinary; it is creative, quite entertaining and superbly performed by all.

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