An intelligently constructed program, especially if it's based on a compelling concept, is almost as important to a recital album as the quality of the playing. Jenny Lin, one of the finest classical pianists in New York (and that's saying something), has a winning concept here. As Luca Sabbatini, the author of the program notes, writes, "small forms -- preludes, etudes, nocturnes, poems, character pieces, etc. -- often served their creators as a space which fairly encouraged aesthetic revolutions and other breaches of convention..." Listening to this mostly chronological program from beginning to end, one hears the piano's vocabulary expand radically over the space of 17 years.
Halfway through his fifth decade in the public eye, Wayne Shorter sounds like as much of a jazz giant as ever: a superb composer and the architect of an elliptical improvisational sax style that has grown more and more influential. It's the latter facet that is emphasized on this album of concert recordings from the past three years.. The formation of a new quartet has seemingly invigorated him, and Shorter clearly inspires his younger sidemen to take risks -- Danilo Perez, John Patitucci, and Brian Blade never seemed all that progressive before, and this is their most interesting playing.
Hands down one of the most intricately beautiful instrumental albums of the year so far. Jack Rose (of Virginia neo-psych band Pelt) is not only a guitar virtuoso of the highest order, an adept finger-style picker in the Rev. Gary Davis/John Fahey tradition (he covers the latterâ€™s â€œSunflower River Bluesâ€), heâ€™s an imaginative genre-hopper who â€“ like Fahey in his later years â€“ can make his acoustic guitar an instrument for meditative psychedelia, even make it sound like a sitar.
Aside from the Fahey cover, all eight tracks on this solo excursion are originals, starting out in a mostly traditional vein and then, on the second half of the disc, mixing in the raga influence on alternating tracks.