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It's good to see that there are talented jazz artists who are willing to keep the "cool" school alive and well if for no other reason (and there are others) than to memorialize those great artists starting with Lester Young who brought this jazz genre to prominence. Riding on the featherweight, tuneful approach to improvisation and the slow almost invisible vibrato, artists such as Miles Davis, Lee Konitz, MQJ, Bob Brookmeyer and others became full-fledged members in the school or just took out a temporary affiliation. Whatever their tenure, they left an indelible mark on the way jazz music was to be played. Southern Idaho alto saxophonist, Brent Jones staked out a claim as one of the leading champions of this style. He also is light, airy, extraordinarily lyrical and melodic, elegant and sophisticated and swings without being pretentious about it. He joins with former members of the Acoustic Jazz Quartet, including David Sills on tenor, and incredible bassist Zac Matthews, who joined Jensen on his initial release. No matter what they cut, "Two for Prez", "Lover Man",and "I'll Remember April", each tune gets the chamber like jazz that seems to be one of the trademarks of this music, with intelligent, elegant improvisation and innovative counterpoint. This group provides with absolute finality, or as close as one can get to that state of bliss, that one does not have to play loud to play good.
I love jazz because anything is possible; it has few rules and the best jazz breaks those ones. I prefer free improv because it doesn't really have any rules at all.
I was first exposed to jazz in my teens (in the late sixties).
The first jazz record I bought was Filles de Kilimanjaro by Miles Davis, shortly followed by Extrapolation by John McLaughlin.
My advice to new listeners is to listen as widely as possible and not to make snap judgments--stick with it.