Basie-style blues and swing are the foundation of this amiable live set from 1995. This is no surprise, given
Al Grey's and
Harry "Sweets" Edison's work with
the Count --
Grey most notably from 1957-1961 and
Edison from 1938-1950. From that base, though, the two take divergent paths here. Renowned though he is for his brassy bravado and skill with the plunger mute,
Grey seems too firmly planted in an earlier era, so much so that his playing can come across as nostalgic routines. It is actually elder statesman
Edison (at 79,
Grey's senior by almost a decade), who -- still working within the swing ethic -- creates some fresh sparks. His warm and slippery tone, technical finesse, and improvisational skills yield a choice handful of timeless statements. Rounding out the front line,
Jerome Richardson plays well but his tenor saxophone sounds thin in the mix (
Richardson is the only one who gets this treatment; otherwise the sound is quite good). In the rhythm section, pianist
Junior Mance, working from a more boppish perspective, injects some drive and harmonic spice into the performances. Bassist Ben Brown and drummer
Bobby Durham slug away in classic style and also get in a couple of credible solos each. Most of the music follows a predictable course, with some noteworthy exceptions. These include an energetic romp on "Lester Leaps In";
Barry Harris' "Nascimento," a bossa nova with a welcome flute solo from
Richardson; and
Edison's title track, a song popularized in versions by
Lambert, Hendricks & Ross and, later, by
Joni Mitchell. ~ Jim Todd