JAM: August/September 2001 Issue: For the Record

Bradley Allen
2ND VERSE
Flam Tap Records

Personnel: Bradley Allen, drums, vocals; Rod Fleeman, acoustic guitar; Tom DeMasters, electric guitar; Craig Akin, acoustic & electric bass

Tracks: Meet the Flintstones; Ain't Misbehavin'; Island Oasis; Bye Bye Blackbird; Lullaby of Birdland; The Supermarket Stomp; My Favorite Things; Shades of Blue; Norwegian Wood; I Saw Her Standing There

Recorded February 2001 at Studio X, Kansas City, MO; Chris Sterbenz, engineer.

Commencing with the blistering bebop lines of Rod Fleeman's nylon string guitar on "Meet the Flintstones," Bradley Allen's latest offering is a potpourri of straightahead Kansas City jazz, fusion, and jazz interpretations of pop "standards." It also serves up an interesting blend of musicians, with Fleeman offset by the electric Tom DeMasters, backed by Allen's drums (and vocals) and Craig Akin's bass.

"Ain't Misbehavin'" features Allen's bright vocals and is done in an easy swing, providing a sharp contrast to the break-neck opening track.

The third track, "Island Oasis," an Allen original, prominently features DeMasters and, according to the liner notes, is inspired by the music of Bill Frisell. The tune has a lilting Caribbean-rock feel, and yes, you can hear hints of Frisell. But, given the liner remark, the track is nowhere near as eccentric, risky or sparse as most Frisell enthusiasts would expect.

Back to straightahead standards things go with "Bye Bye Blackbird," sung by Allen, and leading off with a generous bit of blowing by Fleeman and Akin.

"Lullaby of Birdland" is done with a funk approach, pairing DeMasters' distortion-laden electric guitar with Fleeman's nylon strings -- a somewhat surreal (and enjoyable) mix., particularly when they trade fours.

"The Supermarket Stomp" is an up-tempo, short (2:11), corny, lighthearted romp, which may be Allen's attempt to prove that he can write a lyric about anything.

"My Favorite Things," the longest track on the album, returns the CD to central standard time and is the most club-like in terms of stretched out soloing by Fleeman.
And "Shades of Blue" is a medium tempo tune that gives DeMasters a chance to come out and play, while showcasing Akin's bass.

At this point, 2nd Verse has already cut a pretty wide-ranging swath, but it closes with two Beatles tunes: "Norwegian Wood" and "I Saw Her Standing There," both sung by Allen. If you like the Beatles, and if you think John Lennon and Paul McCartney were fundamentally good song writers, then you'll enjoy these two cuts. To my ears, Herbie Hancock's New Standard album, where he recorded jazz arrangements of pop songs, including "Norwegian Wood," was a huge risk, and one that didn't quite work at times. In the case of 2nd Verse, the same attempt also just doesn't happen for me. Please understand, however, that I'm not knocking the musicianship of the artists; I just can't get past the choice of material.

From the standpoint of production values, 2nd Verse is slightly rough around the edges, giving it a club-set feel -- a refreshing break from other overly edited studio albums. Jazz was never meant to be clean enough to irrigate wounds. And for a band headed by a drummer, the percussion is restrained but tasteful, with only a minimum number of drum solos.

Rod Fleeman's playing alone makes this album worth buying, though given the song list, it will take a listener with eclectic tastes to deeply enjoy every track. But even for this stick in the mud who didn't enjoy the entire album, there's plenty of good stuff here.

-- Rod McBride

Bill Crain
"DIRTY TRICKS"
Iron Jazz Recordings
IJR-1414

Personnel: Bill Crain, soprano, alto, tenor saxophones, clarinet, bass clarinet, flute, percussion, synthesizer; Wayne Hawkins, piano and synthesizers; Brian Harman, electric and acoustic guitars; Bob Blount, electric bass; Todd Strait, drums; Gary Helm, Michael DeLeon, percussion

Tracks: Get Up; Waltz for Little C; Samba Daddium; Get Real Mon!; My Lament; Kickin' Back; Havana Diana; Soul Mate; Dirty Tricks

Recorded, mixed and mastered at BRC Audio Productions, Kansas City, MO; Bill Crain, engineer.

Bill Crain's Dirty Tricks showcases this Renaissance Music Man's varied talents. Not only does he compose a pack of fine songs in a wide variety of styles and play a slew of wind instruments on them, but he deftly engineers it all, as well.

Crain plays alongside some of KC's finest players here, highlighting their strengths not only through how he interacts and grooves with them, but also through the way he listens. He captures their spirit well on disk, attuned to the finer nuances of the art. Crain captures those quieter moments many recording engineers miss.

Crain's own playing is dynamic. His entrance on the first track sounds like the first few hurried, poignant words of a man who has just encountered an old, good friend who has been away for years. His tone is full. He's sure of himself, but he knows he may have little time before the next parting. So, he leaps in. He has much to say.

Furthermore, the duet Crain plays with Todd Strait on the opening tune, "Get Up," is worth the cost of the album. I've replayed this track countless times. Each time, it gets better. Not only do Crain and Strait create a finely textured, subtle musical conversation, where the tune's melody is echoed from saxophone to drums, but Crain's engineering gets showcased, too. It's one of the finest recorded renderings of Strait's intricate, clock-maker-precise style I've ever heard. Those grace notes most recordings either lose or muffle, Crain pinpoints and magnifies, yet without losing the overall balance. "Get Up" is a duet still, never a drum solo. And Crain mixes it with pin-drop precision, accentuating the intricacies of Strait's subtle, intellectual style.

Wayne Hawkins shines on "My Lament," a ballad that rolls like a trickling mountain brook. And on "Soul Mate," Bob Blount solos soulfully and frenetically, electric and quick. On this album Crain, like Ellington, appears to have that knack for spotlighting his players' gifts.

As for stylistic diversity, "Get Real Mon" is reggae, and it grooves slyly, like a snake on a junkyard tire. On "Samba Daddium," the percussionists rustle up a forest-full of sounds, and "Havana Diana," an Afro-Cuban tune, allows the group to groove to a 6/8 polyrhythmic stop-and-go gait. The title cut, "Dirty Tricks," signals well this album's thrust for stylistic diversity, changing styles, tempos, and time signatures, both often and seamlessly.

--Kevin Rabas

The Greg Meise Trio
featuring Millie Edwards and Friends
FIRST IMPRESSION
Honky Magic Records
HMR2082

Personnel: Greg Meise, acoustic & electric piano, Hammond B3 organ, vocals; Gerald Spaits, bass; John Doubleday, drums; Mike Thompson, drums ("Mama"); Millie Edwards, vocals; Steve Dekker, trombone; Jack Lightfoot, trumpet; Hal Melia, saxophone, flute; Danny Embrey, guitar; Gary Helm, percussion

Tracks: You'd Be So Nice To Come Home To; A Beautiful Friendship; Morning; The Very Thought of You; Almost Like Being In Love; Joy Spring; Big City; Have You Met Miss Jones; For All We Know; Roll 'em Pete; Mama; Spring Can Really Hang You Up the Most; I'm Afraid the Masquerade Is Over; Fly Me To the Moon; The Preacher

Recorded between May 25 and September 17, 2000 at Soundtrek Studios, Kansas City, MO; Ron Ubel, engineer.

First Impression is an elegantly designed recording born from the association of two of the region's popular musician-entertainers: keyboardist-vocalist-bandleader Greg Meise and vocalist Millie Edwards.

Like many musicians, these two maintain day jobs, perhaps to balance the vicissitudes of the musician's and entertainer's lifestyle. Meise is a large, jocular man who develops innovative communications solutions for the blind. The petite Ms. Edwards, who some say resembles Diana Ross, is a telecommunications broadband specialist for AT&T. But as night falls and gigtime arises, the communicatin' has just begun. Meise's fleet fingers on the keyboard, his affable vocals, and the front-and-center presence and power of Millie Edwards' singing deliver unabashed pleasure music to their audiences through their blues, swing, soul, and jazz artistry.

Among the fifteen tracks on First Impression are six vocals from Ms. Edwards, four from Meise, and five instrumentals in ensembles built around piano-bass-drum and organ-guitar-drum trios. Bassist Gerald Spaits, drummer John Doubleday, and guitarist Danny Embrey comprise the rhythm section; percussionist Gary Helm joins in on two Latin-flavored tracks; and fluid, interesting lines from Hal Melia's tenor sax or flute complement several tracks as well. Guitarist Embrey, who began working with Meise in the early seventies, also contributes some intriguing solos, and an added horn section shines on the opening track: Spaits' neat arrangement of Cole Porter's "You'd Be So Nice To Come Home To," highlighted by Steve Dekker's trombone solo.

Other highlights include a fresh Embrey-Meise setting of Clare Fischer's "Morning," Clifford Brown's "Joy Spring," and Ms. Edwards' powerful and soulful singing on "Big City."

Note: Greg Meise performs at Topaz Cafe, 12227 W. 87th Street in Lenexa, on Wednesday nights with his piano trio. Millie Edwards joins the trio Thursdays at McCoy's in Westport.

-- Rich Hill

The PBT Trio
THE SOUNDTREK SESSIONS
PBT Records 010

Personnel: Paul Smith, acoustic piano, keyboards, synthesizers; Bob Bowman, acoustic bass; Todd Strait, drums; Karrin Allyson, vocal ("Do Nothing Till You Hear From Me"); Danny Embrey, acoustic guitar ("Knobtown," "Flor de Lis"); Rod Fleeman, acoustic guitar ("All Pat's Things," "Estate'"); David Hungate, trombone, acoustic guitar ("Toley"); Mike Metheny, EVI ("All Pat's Things"), cornet ("You Stepped Out of a Dream"); Gary Sivils, cornet ("Do Nothing Till You Hear From Me")

Tracks: I've Never Been In Love Before; All Pat's Things; Bewitched, Bothered and Bewildered; Nobody Else But Me; Do Nothing Till You Hear From Me; Knobtown; Estate'; You Stepped Out of a Dream; Toley; Liz Anne; Flor de Lis; Juicy Lucy

Recorded at Soundtrek Studios, Kansas City, MO; Ron Ubel, engineer.

It's not a rumor. The long-awaited recording by Paul Smith, Bob Bowman and Todd Strait has been released.

After years of playing together in various combinations, and working as the rhythm section for many of Kansas City's finest musicians, the PBT Trio has finally produced their own CD. It's been well worth the wait.

If you're wondering how Smith, Bowman and Strait have developed their reputation and why they are in such demand, this is a good place to start. Full of interplay, subtlety, and spirit, The Soundtrek Sessions shows why these three gifted individuals are so highly respected. There is something in their approach to time and harmony that inspires fellow musicians, and engages listeners in the process. Having played on countless gigs and recordings together, the trio can create a kind of alchemy where all three instruments melt into one sound, and the three musicians respond and move as one voice.

On this recording, beautifully engineered by Ron Ubel, alchemy happens in the studio, as the trio interprets the compositions of Frank Loesser, Jerome Kern, Duke Ellington, Pat Metheny and Horace Silver.

The versatile Paul Smith grooves on "Nobody Else But Me," soars on the synthesizer on "Knobtown," and shows his soulful side on "Juicy Lucy." On every tune, he moves seamlessly between single lines and chords, perfectly balancing space and density. His piano lines and block voicings on "I've Never Been In Love Before" are a study in rhythmic elegance, and the conversation between Strait and Smith is a good example of how these musicians seem to read each other's minds.

Bob Bowman's bass solos on "Bewitched, Bothered and Bewildered" and "Estate'" are perfect vehicles to invoke his harmonic inventiveness and singing tone, while the uptempo "You Stepped Out Of a Dream" has him negotiating curves with ease.

On "All Pat's Things," drummer Todd Strait shows how to kick a tune into overdrive with sheer precision and crispness. His swinging time is laid back on "Do Nothing Till You Hear From Me," freewheeling on "Nobody But Me," and in-the-pocket on "Toley."

And there's more. Although all three of these musicians are master improvisers, PBT is known as a great rhythm section, so it's fitting that they're joined in the studio by a number of old friends.

Karrin Allyson and Gary Sivils are in fine form on a bluesy reading of "Do Nothing Till You Hear From Me." Rod Fleeman plays a sparkling solo on "All Pat's Things" and engages Smith in a duet reminiscent of Jim Hall and Bill Evans. Guitarist Danny Embrey is brilliant on "Knobtown," playing with his usual relaxed intensity. Other fine moments are David Hungate's solid and exuberant trombone work on "Toley" and Mike Metheny's burning cornet solo that winds through the changes of "You Stepped Out Of A Dream."

All of these talented musicians would probably admit, however, that the stars of this recording are Smith, Bowman and Strait themselves, and that "PBT" might just stand for the power, beauty and telepathy they bring to everything they play. If you want experience this for yourself, The Soundtrek Sessions have arrived. You won't be disappointed.

-- Tim Cross

RETURN TO AUGUST/SEPTEMBER 2001 MAIN INDEX

© Kansas City Jazz Ambassadors 1996-2001. All rights reserved.






	Search our site:		Bradley Allen 2ND VERSE Flam Tap Records Personnel: Bradley Allen, drums, vocals; Rod Fleeman, acoustic guitar; Tom DeMasters, electric guitar; Craig Akin, acoustic & electric bass Tracks: Meet the Flintstones; Ain't Misbehavin'; Island Oasis; Bye Bye Blackbird; Lullaby of Birdland; The Supermarket Stomp; My Favorite Things; Shades of Blue; Norwegian Wood; I Saw Her Standing There Recorded February 2001 at Studio X, Kansas City, MO; Chris Sterbenz, engineer. Commencing with the blistering bebop lines of Rod Fleeman's nylon string guitar on "Meet the Flintstones," Bradley Allen's latest offering is a potpourri of straightahead Kansas City jazz, fusion, and jazz interpretations of pop "standards." It also serves up an interesting blend of musicians, with Fleeman offset by the electric Tom DeMasters, backed by Allen's drums (and vocals) and Craig Akin's bass. "Ain't Misbehavin'" features Allen's bright vocals and is done in an easy swing, providing a sharp contrast to the break-neck opening track. The third track, "Island Oasis," an Allen original, prominently features DeMasters and, according to the liner notes, is inspired by the music of Bill Frisell. The tune has a lilting Caribbean-rock feel, and yes, you can hear hints of Frisell. But, given the liner remark, the track is nowhere near as eccentric, risky or sparse as most Frisell enthusiasts would expect. Back to straightahead standards things go with "Bye Bye Blackbird," sung by Allen, and leading off with a generous bit of blowing by Fleeman and Akin. "Lullaby of Birdland" is done with a funk approach, pairing DeMasters' distortion-laden electric guitar with Fleeman's nylon strings -- a somewhat surreal (and enjoyable) mix., particularly when they trade fours. "The Supermarket Stomp" is an up-tempo, short (2:11), corny, lighthearted romp, which may be Allen's attempt to prove that he can write a lyric about anything. "My Favorite Things," the longest track on the album, returns the CD to central standard time and is the most club-like in terms of stretched out soloing by Fleeman. And "Shades of Blue" is a medium tempo tune that gives DeMasters a chance to come out and play, while showcasing Akin's bass. At this point, 2nd Verse has already cut a pretty wide-ranging swath, but it closes with two Beatles tunes: "Norwegian Wood" and "I Saw Her Standing There," both sung by Allen. If you like the Beatles, and if you think John Lennon and Paul McCartney were fundamentally good song writers, then you'll enjoy these two cuts. To my ears, Herbie Hancock's New Standard album, where he recorded jazz arrangements of pop songs, including "Norwegian Wood," was a huge risk, and one that didn't quite work at times. In the case of 2nd Verse, the same attempt also just doesn't happen for me. Please understand, however, that I'm not knocking the musicianship of the artists; I just can't get past the choice of material. From the standpoint of production values, 2nd Verse is slightly rough around the edges, giving it a club-set feel -- a refreshing break from other overly edited studio albums. Jazz was never meant to be clean enough to irrigate wounds. And for a band headed by a drummer, the percussion is restrained but tasteful, with only a minimum number of drum solos. Rod Fleeman's playing alone makes this album worth buying, though given the song list, it will take a listener with eclectic tastes to deeply enjoy every track. But even for this stick in the mud who didn't enjoy the entire album, there's plenty of good stuff here. -- Rod McBride Bill Crain "DIRTY TRICKS" Iron Jazz Recordings IJR-1414 Personnel: Bill Crain, soprano, alto, tenor saxophones, clarinet, bass clarinet, flute, percussion, synthesizer; Wayne Hawkins, piano and synthesizers; Brian Harman, electric and acoustic guitars; Bob Blount, electric bass; Todd Strait, drums; Gary Helm, Michael DeLeon, percussion Tracks: Get Up; Waltz for Little C; Samba Daddium; Get Real Mon!; My Lament; Kickin' Back; Havana Diana; Soul Mate; Dirty Tricks Recorded, mixed and mastered at BRC Audio Productions, Kansas City, MO; Bill Crain, engineer. Bill Crain's Dirty Tricks showcases this Renaissance Music Man's varied talents. Not only does he compose a pack of fine songs in a wide variety of styles and play a slew of wind instruments on them, but he deftly engineers it all, as well. Crain plays alongside some of KC's finest players here, highlighting their strengths not only through how he interacts and grooves with them, but also through the way he listens. He captures their spirit well on disk, attuned to the finer nuances of the art. Crain captures those quieter moments many recording engineers miss. Crain's own playing is dynamic. His entrance on the first track sounds like the first few hurried, poignant words of a man who has just encountered an old, good friend who has been away for years. His tone is full. He's sure of himself, but he knows he may have little time before the next parting. So, he leaps in. He has much to say. Furthermore, the duet Crain plays with Todd Strait on the opening tune, "Get Up," is worth the cost of the album. I've replayed this track countless times. Each time, it gets better. Not only do Crain and Strait create a finely textured, subtle musical conversation, where the tune's melody is echoed from saxophone to drums, but Crain's engineering gets showcased, too. It's one of the finest recorded renderings of Strait's intricate, clock-maker-precise style I've ever heard. Those grace notes most recordings either lose or muffle, Crain pinpoints and magnifies, yet without losing the overall balance. "Get Up" is a duet still, never a drum solo. And Crain mixes it with pin-drop precision, accentuating the intricacies of Strait's subtle, intellectual style. Wayne Hawkins shines on "My Lament," a ballad that rolls like a trickling mountain brook. And on "Soul Mate," Bob Blount solos soulfully and frenetically, electric and quick. On this album Crain, like Ellington, appears to have that knack for spotlighting his players' gifts. As for stylistic diversity, "Get Real Mon" is reggae, and it grooves slyly, like a snake on a junkyard tire. On "Samba Daddium," the percussionists rustle up a forest-full of sounds, and "Havana Diana," an Afro-Cuban tune, allows the group to groove to a 6/8 polyrhythmic stop-and-go gait. The title cut, "Dirty Tricks," signals well this album's thrust for stylistic diversity, changing styles, tempos, and time signatures, both often and seamlessly. --Kevin Rabas The Greg Meise Trio featuring Millie Edwards and Friends FIRST IMPRESSION Honky Magic Records HMR2082 Personnel: Greg Meise, acoustic & electric piano, Hammond B3 organ, vocals; Gerald Spaits, bass; John Doubleday, drums; Mike Thompson, drums ("Mama"); Millie Edwards, vocals; Steve Dekker, trombone; Jack Lightfoot, trumpet; Hal Melia, saxophone, flute; Danny Embrey, guitar; Gary Helm, percussion Tracks: You'd Be So Nice To Come Home To; A Beautiful Friendship; Morning; The Very Thought of You; Almost Like Being In Love; Joy Spring; Big City; Have You Met Miss Jones; For All We Know; Roll 'em Pete; Mama; Spring Can Really Hang You Up the Most; I'm Afraid the Masquerade Is Over; Fly Me To the Moon; The Preacher Recorded between May 25 and September 17, 2000 at Soundtrek Studios, Kansas City, MO; Ron Ubel, engineer. First Impression is an elegantly designed recording born from the association of two of the region's popular musician-entertainers: keyboardist-vocalist-bandleader Greg Meise and vocalist Millie Edwards. Like many musicians, these two maintain day jobs, perhaps to balance the vicissitudes of the musician's and entertainer's lifestyle. Meise is a large, jocular man who develops innovative communications solutions for the blind. The petite Ms. Edwards, who some say resembles Diana Ross, is a telecommunications broadband specialist for AT&T. But as night falls and gigtime arises, the communicatin' has just begun. Meise's fleet fingers on the keyboard, his affable vocals, and the front-and-center presence and power of Millie Edwards' singing deliver unabashed pleasure music to their audiences through their blues, swing, soul, and jazz artistry. Among the fifteen tracks on First Impression are six vocals from Ms. Edwards, four from Meise, and five instrumentals in ensembles built around piano-bass-drum and organ-guitar-drum trios. Bassist Gerald Spaits, drummer John Doubleday, and guitarist Danny Embrey comprise the rhythm section; percussionist Gary Helm joins in on two Latin-flavored tracks; and fluid, interesting lines from Hal Melia's tenor sax or flute complement several tracks as well. Guitarist Embrey, who began working with Meise in the early seventies, also contributes some intriguing solos, and an added horn section shines on the opening track: Spaits' neat arrangement of Cole Porter's "You'd Be So Nice To Come Home To," highlighted by Steve Dekker's trombone solo. Other highlights include a fresh Embrey-Meise setting of Clare Fischer's "Morning," Clifford Brown's "Joy Spring," and Ms. Edwards' powerful and soulful singing on "Big City." Note: Greg Meise performs at Topaz Cafe, 12227 W. 87th Street in Lenexa, on Wednesday nights with his piano trio. Millie Edwards joins the trio Thursdays at McCoy's in Westport. -- Rich Hill The PBT Trio THE SOUNDTREK SESSIONS PBT Records 010 Personnel: Paul Smith, acoustic piano, keyboards, synthesizers; Bob Bowman, acoustic bass; Todd Strait, drums; Karrin Allyson, vocal ("Do Nothing Till You Hear From Me"); Danny Embrey, acoustic guitar ("Knobtown," "Flor de Lis"); Rod Fleeman, acoustic guitar ("All Pat's Things," "Estate'"); David Hungate, trombone, acoustic guitar ("Toley"); Mike Metheny, EVI ("All Pat's Things"), cornet ("You Stepped Out of a Dream"); Gary Sivils, cornet ("Do Nothing Till You Hear From Me") Tracks: I've Never Been In Love Before; All Pat's Things; Bewitched, Bothered and Bewildered; Nobody Else But Me; Do Nothing Till You Hear From Me; Knobtown; Estate'; You Stepped Out of a Dream; Toley; Liz Anne; Flor de Lis; Juicy Lucy Recorded at Soundtrek Studios, Kansas City, MO; Ron Ubel, engineer. It's not a rumor. The long-awaited recording by Paul Smith, Bob Bowman and Todd Strait has been released. After years of playing together in various combinations, and working as the rhythm section for many of Kansas City's finest musicians, the PBT Trio has finally produced their own CD. It's been well worth the wait. If you're wondering how Smith, Bowman and Strait have developed their reputation and why they are in such demand, this is a good place to start. Full of interplay, subtlety, and spirit, The Soundtrek Sessions shows why these three gifted individuals are so highly respected. There is something in their approach to time and harmony that inspires fellow musicians, and engages listeners in the process. Having played on countless gigs and recordings together, the trio can create a kind of alchemy where all three instruments melt into one sound, and the three musicians respond and move as one voice. On this recording, beautifully engineered by Ron Ubel, alchemy happens in the studio, as the trio interprets the compositions of Frank Loesser, Jerome Kern, Duke Ellington, Pat Metheny and Horace Silver. The versatile Paul Smith grooves on "Nobody Else But Me," soars on the synthesizer on "Knobtown," and shows his soulful side on "Juicy Lucy." On every tune, he moves seamlessly between single lines and chords, perfectly balancing space and density. His piano lines and block voicings on "I've Never Been In Love Before" are a study in rhythmic elegance, and the conversation between Strait and Smith is a good example of how these musicians seem to read each other's minds. Bob Bowman's bass solos on "Bewitched, Bothered and Bewildered" and "Estate'" are perfect vehicles to invoke his harmonic inventiveness and singing tone, while the uptempo "You Stepped Out Of a Dream" has him negotiating curves with ease. On "All Pat's Things," drummer Todd Strait shows how to kick a tune into overdrive with sheer precision and crispness. His swinging time is laid back on "Do Nothing Till You Hear From Me," freewheeling on "Nobody But Me," and in-the-pocket on "Toley." And there's more. Although all three of these musicians are master improvisers, PBT is known as a great rhythm section, so it's fitting that they're joined in the studio by a number of old friends. Karrin Allyson and Gary Sivils are in fine form on a bluesy reading of "Do Nothing Till You Hear From Me." Rod Fleeman plays a sparkling solo on "All Pat's Things" and engages Smith in a duet reminiscent of Jim Hall and Bill Evans. Guitarist Danny Embrey is brilliant on "Knobtown," playing with his usual relaxed intensity. Other fine moments are David Hungate's solid and exuberant trombone work on "Toley" and Mike Metheny's burning cornet solo that winds through the changes of "You Stepped Out Of A Dream." All of these talented musicians would probably admit, however, that the stars of this recording are Smith, Bowman and Strait themselves, and that "PBT" might just stand for the power, beauty and telepathy they bring to everything they play. If you want experience this for yourself, The Soundtrek Sessions have arrived. You won't be disappointed. -- Tim Cross RETURN TO AUGUST/SEPTEMBER 2001 MAIN INDEX © Kansas City Jazz Ambassadors 1996-2001. All rights reserved.