Brian Landrus (b.1978, Reno, NV) first brought himself to my attention around 2001 by doing what many musicians do-—he sent me a demo. As I do with most demos, I listened then passed on it, for the music (which was full of commercial hooks) was more about form than musical meat and on reflection suggested a bit of a Quincy Jones-like quality. Approximately two years later Brian again did what many musicians do—he sent me another demo. This one, while cleaner in its arrangements and imaging and offering greater focus on his instrumental abilities, was still clearly aimed at a commercial Pop-Jazz market. Both of these instances happened while Brian was living in the Reno, Nevada, area where, among other things, he recorded with singer Erika Paul and the Reno Jazz Orchestra, led a small big band called The Landrus Project, played backup to a number of national acts as well as received a degree in Jazz from the University of Nevada. By the time I next heard from Brian it was 2007 and he had moved from Nevada to New York City and acquired a couple of master’s degrees from the New England Conservatory of Music. This time grit and meat were obvious components of his music. Gone were the superficialities and in its place obvious attention to detail of statements. There remained a broad spectrum of style from Bop to Free but, more important, there was style with substance. Rejoining Brian are John Lockwood (b.1949, Capetown, South Africa) and Bob Moses (b.1948, NYC, NY), both of whom (along with Jason) joined Brian on his May 2007 recording, Forward (Cadence Jazz Records 1218). Neither of these longtime veterans of the improvising music scene needs an introduction so I am only reminding the reader of John’s longtime tenure as a member of The Fringe and Bob’s extensive tenures with both Gary Burton and Dave Liebman as well as his appearances as leader on a number of interesting releases over the years. Jason Palmer (b.1979 High Point, NC), not to be confused with the drummer of the same name, has been working out of the Boston area leading his own group as well as recently becoming a member of Greg Osby’s quintet and, more recently, a 2006 recording on the Ayva Music label. Sound check. Bob’s patient setting up of his extensive and vintage drum kit and getting an integrated balance needed specific attention but was accomplished reasonably quickly and the check captured with clarity the counterpoint lines of the horns, the rhythmic float of Bob, and John’s bass foundations. They opened with Everlasting and, over a number of different takes, acclimated to the room and, in Brian’s words, “Let it settle,” finally opening up to the rather nice compressed jam heard here (take #4). Brian introduced Jerry, a tribute to his father-in-law (Jerry), written just four days before his death. At this point the session took on a bit of a workshop date feel as Brian began to deconstruct his composition, put it into double time, upped tempos, and attempted to capture the emotional coloring of the essence of his tribute. Brian continued to orchestrate, along with group suggestions, on The Bridge, a piece written in response to the death of his brother-in-law, found under… a bridge. With so much sober reflection laid down, I suggested some major uptempo references and so Searching the Field was next up, followed by Sweet Roll, after which Bob suggested some rhythm ideas and the ad-lib Casbah was conceived. They played into the a.m., in and out of time, ending the evening on a pair of free forms. Open to Time finds each member of the quartet navigating their own muse while remaining coordinated in music. Then, with a greater emphasis on longer tones and time, the quartet went into Time to Open with John and Brian opening in tempo. Bob eventually picked up the brushes while Jason contemplated when—if ever—to jump in. Since the opportunity never presented or needed to present itself, he remained standing, trumpet at the ready. The next day we got up early but started in the late morning after a leisurely breakfast followed by some strategizing and warm-up. The renewal of a night’s rest was evident from the start; the evidence is Vision. Again, I am taken by not just the whole of the music but the individual dynamics of each member of the quartet. In many ways this is a disparate group but all the parts, though distinct, fit well together to both complement the compositions and present distinctly each player through this intelligent music. Prior to this session I had spoken with Brian at length about the various possibilities of groupings. He picked this group for the strengths and challenges. In hindsight it was a somewhat gutsy move with unintended consequences that made for consequential listening. Through the session a large gong and large mallet hovered near Bob’s drums, but it was not until the end of the session that this was brought into play. Begong serves as a lovely final benediction to these events. Robert D. Rusch - March 28, 2008 Brian Landrus can also be heard on Cadence Jazz 1218 John Lockwood can also be heard on CIMP 168