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Woodwind & Brasswind
Buster Williams and Something More Are Something Else! Print E-mail
Written by Andrea Canter, Contributing Editor   
Monday, 26 April 2004
Notwithstanding a stunning, Monkish duet of piano and bass on "Little Girl Blue," the higher intensity of the late set reflected the more assertive roles of White and Rushen. Rushen can cover the keyboard from bottom to top and back again with lightening speed, without sacrificing either grace or authority. One has to wonder where piano jazz would be today if she had focused her career in this realm rather than R&B and more mass appeal projects. White, much like Williams, has a relaxed posture at the drumkit, projecting effortless mastery with his shimmering rides and soft punctuations—but it's a "crouching tiger, hidden dragon" at work. And the dragon breathed fire in "Tokudo" and ignited in "Epistrophy" as the late set closed Tuesday night, only to charge back in an even hotter repeat finale Wednesday.
Buster Williams A common denominator across sets was the electrifying Steve Nelson. A true magician, in his hands mallets transform into feathery streaks of light (or, as during the first set Tuesday, simply fly away). He, too, should be seen as well as heard to appreciate the body language that informs his music. Throughout these sets but most noticeably in the final hour, Nelson and Rushen fit well together, filling space with deft, often unpredictable shifts in rhythm and dynamics.

For obvious reasons, Buster Williams is a favorite here and among fellow musicians. There are no "sidemen" or second fiddles here, just the very best in modern jazz who take turns in the driver's seat, give each other plenty of space to define the route and destination, and take their audience along on a magic carpet ride, sometimes gliding along in first-class comfort and sometimes encountering marvelous turbulence. I've caught my breath and now I want another ride.



 
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