Seth Meicht (1976, West Chester, PA) first came to my attention through a series of self-produced recordings, from the late 1990s up to about 2003, as a member (with his brother Aaron [tpt]) of The Meicht Group. Overall the music was very structured but, for me, lacked a balance in strength between design and improvisational development of that design. In August of 2005 Seth sent me demos of his trio. These recordings really grabbed my attention, and some of them were eventually released on the Cadence Jazz Records label (1196). Seth’s music had now arrived with a solid sense of structural form but also in tow was the full force of his saxwork, liberated and bursting with reserve. At the time Seth was studying with Odean Pope as well as working as a member of Odean’s saxophone choir. I find a similarity in the clear articulation and logic in both his and Odean’s solo explorations. The Cadence release to me was such a near perfect exploration of Seth, Lonnie Solaway (1978, Philadelphia, PA), and Matt Engle (1981, Camden, NJ) in a trio format that I suggested we record them on CIMP and left the door open to perhaps expanding the format. Seth proposed to expand with Matt Bauder (1976, Ann Arbor, MI). Matt’s own work up until now has been documented mostly on a series of recordings on the 482Music label. Matt’s previous work has, for the most part, concerned itself with explorations of tonalities and is more minimalist than Seth’s work. I wondered at the time how the contrast, or perhaps conflict, between the two reeds would resolve itself. And I continued to wonder as we began preparations to start recording. And wonder is what seemed to be expressed by the curious eyes and blank expressions of the group as they wandered about and set up. It’s been a while since we had a whole group in which not one participant had not previously graced The Spirit Room. The mid afternoon sound check immediately answered my questions about the blend of Seth and Matt (Bauder). It’s not so much in juxtaposition as a blend, but still with very different attacks. After a soundcheck, acclimation, supper, jokes and the prerequisite picking-on-the-bass-player, we all gathered in The Spirit Room. The early efforts might best be characterized as both hesitant and flagging while the group worked at getting its situational sealegs. Eventually, shoes came off, outer clothing fell away, a relaxed intensity began to emerge, and the parts started to come together in concert. The varied yet distinct sax references, on both successful and unsuccessful takes, held my interest throughout the night. Matt might be characterized by what historically is considered to be a Cool or West Coast sound with suggestions of Pres, Warne Marsh, and Braxton, while Seth’s more strident approach might broadly be said to have its roots in the Coleman Hawkins lineage of Rollins and Roland Kirk. And while these iconic approaches seem to come quite naturally through Seth and Matt (in that they don’t seem imitative), if I didn’t know better I might have guessed there were four or five distinct sax personalities on the date. As a group this quartet almost seems disconnected from a traditional format and rather floats along on its own platform, a bit foreign, slightly cross-eyed, and not quite in step. Certainly there is some original direction at play here in this very purposeful exposition: not so much a 359° shift as a 1° shift. As such, necessitating strength from its improvised development as much as being both convincing and successful in its structural precision. Check out the dynamics of Illume, a dirge, a simple enough line made rather complex by the imposed structural dynamics but at the same time builds the improvisation out of a rather basic premise. Then, as if in release, the group followed this up with The Enormous Room, a multi sectioned piece with explosive releases. Both takes came at the end of the evening and their momentum, with the band in high gear, prompted a third take of Resonator, nailed this time with an infectious energy and spirit missing earlier. Another example of why it is important to let art happen on its own time and terms and then conform your documentation to it. With the main body of compositions successfully addressed, the next day was given over to shorter improvs and multiple reworkings of Blue Smiles, one of Seth’s older compositions. It’s reassuring to know there are some new original voices coming (not just cloning) up. Forceful music and possibly a force in musical directions. Good music either way. Enjoy. Robert D. Rusch - March 29, 2006