It would be hard to imagine "Something More" than what Buster Williams' all-star quartet by that name presented at the Dakota over the past three nights. Imagine the Modern Jazz Quartet—also an all-star ensemble with the same instrumentation—with a stretched out post bop passion, and that will only begin to convey the level of artistry and excitement of William's crew. While we often see a "master" bandleader in the company of young lions (as in the recent Twin Cities' visits of Elvin Jones, McCoy Tyner, and Roy Haynes), we seldom get the chance to see one master in collaboration with other musicians of this caliber. Each member of Something More has a well-established reputation as among the very best—versatile drummer Lenny White ("Bitches Brew" and Return to Forever), vibraphone monster Steve Nelson (Dave Holland Big Band and Quintet), and unbridled pianist Patrice Rushen, better known for her work in R & B, film scores, and musical extravaganza production than straight-ahead jazz.

Photograph courtesy of Howard Gitelson

And with the recent passing of Ray Brown, we will seldom (if ever) have the opportunity to enjoy a more elegant, melodic bassist than Buster Williams. Williams must be seen as well as heard; his hands move with the grace and seeming ease of a dancer. Offering no comment between pieces as each glides into the next, he has much to say at the end of each set, and mostly in praise of his colleagues.

I caught three of the six sets at the Dakota, the early and late shows on Tuesday and the final set on Wednesday. A tastefully sublime but somewhat restrained opening set on Tuesday, highlighted by Williams' lyrical "Christina," was merely a warm-up for the high-flying late show. Burning from Nelson's first notes of "Song for Sensei," the fire passed to Rushen and on to the most soulful of solos from Williams.