Die-hard jazz fans will often tell you that the second or late set of a gig is the best—the musicians are "warmed up," more tuned in to each other and the audience. Often I reserve two sets at the Dakota, sometimes disappointed when the artist plays essentially the same play list, but more often than not rewarded with another perspective that, while not necessarily "better" than the opening set, at least permits a broader sampling of the artist' repertoire. And once in a while, that second set bears little resemblance to the first. Such was the fortunate case of the Kenny Garrett Quartet's one-night stand at the Dakota in Minneapolis (February 21).

Following an opening set that is best described as self-indulgent indifference on the part of the usually fiery alto sax titan, Garrett returned to the bandstand as if reborn, and blew apart any questions about his passion. His chops were never in doubt; despite the apparent lack of creative commitment in the first set, Garrett nevertheless displayed the technical control and dexterity that have anointed him as his generation's answer to Parker and Coltrane. But the first two of the three original tunes in the first set dissipated into seemingly endless spirals of ruminations, interesting to a degree but ultimately failing to reach into the heart and soul of the listener. As he rocked his alto back and forth (constantly), it seemed that Garrett had entered auto pilot zone, blowing with consummate skill but self absorbed. And as soon as he sounded the last note of the third tune, Garrett made a hasty exit, leaving his rhythm section noticeably perplexed. A Miles Davis alum, maybe Garrett has internalized some of his early mentor's quirks, although this seemed out of character given previous performances.

Whatever took place during the hour break, Garrett returned transformed into the energetic artist we know and admire, engaging and pushing his bandmates rather than merely stepping aside for them, mixing up the rhythms and tempos, showing his range from blistering swirls of polyphonic honks and shouts to melodic and soul-wrenching balladry. Where in the first set he seemed content to yield the floor to his compatriots, in the second set there were frequent good natured duels between sax and keyboard, sax and bass, sax and drums. In a duet sequence with pianist Carlos McKinney—a medley of Japanese and Korean folk songs—Garrett's soprano sax sent out a gorgeous, hollow tone somewhere between a bass flute and the call of a loon, soaring as a hymn to a great spirit. The set closed with Garrett's "Happy People," and by this time, that was an apt description of the Quartet.

 Garrett always brings a stellar band on tour, and the Dakota gig was no exception. Keyboardist Carlos McKinney is a perfect foil for Garrett, capable of matching the sax master phrase for phrase, nuance for nuance, ripping across the piano keyboard with Tyner-like power yet capable of Evanescent lyricism on both piano and Fender Rhodes. He can be a ferocious improviser, his playing frequently playful and consistently riveting. He particularly shined at balladic tempo on the Asian folk medley duet.

Bassist Chris Funn maintained a rapid pulse throughout both sets and engaged in some effective give and take with each of his bandmates.  He's not as exciting nor as inventive as previous Garrett bassist Charnett Moffett,  but he contributed admirably to the program, particularly in setting a heavy funk rhythm during the unnamed second tune of the last set.

Drummer Ron Bruner deserves special mention. Comparing him to the Energizer Bunny does not begin to describe the frenetic energy that he applies to every whack, every skitter, every rimshot. His solo on the opening piece of the second set was downright wicked, with sudden stops and starts. Noted Gregory Robb (All About Jazz), "His strokes and accents combined for stunning effect, sometimes sounding like ecstatic piston fire. One can only shake a head, and grin, when a drummer this good strides off a stage into the human world."

All's well that ends well, and set two delivered what we expect from Kenny Garrett—"a level of jazz musicianship that leaves peoples' mouths ajar" (Gregory Robb, All About Jazz).