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Review - After spending the last decade working with the kind of jazzbos that figured out how to avoid being a starving artist without selling out, Drummond continues to step out on her own, spreading her wings farther with each outing. It's unavoidable acknowledging the DNA behind this recording---jazz, new age, world, some saloon, some samba, some classical, some Herbie Mann excursions into all of the above---but it's also unavoidable acknowledging that like a sonic Dr. Frankenstein, she's reassembled these building blocks into a whole new whole that's one of a kind. With most of her side players being leaders we've enthused over in the past, they come together here under her baton bringing their A game throughout. Not aiming for hit records, Drummond aims her flute for a hit sound making this the kind of date that won't blow up out of the box but will put her kids through college and pay for her groceries when she gets old enough for Social Security and finds it's not there. Utterly killer adult jazz throughout.
by Chris Spector, Midwest Record
Brandi Disterheft wrote a few words about the album:
A composer, flutist, and pianist, AnneDrummond is a bandleader who withholds from demanding and scrutinizing her musicians, but rather conveys, in a poised manner, how she envisions the music to evolve. As a person she is as graceful, eloquent, and unpredictably captivating as her music.
I became aware of Anne’s cult-like fan club years ago while on the road in a small town in Slovenia. Someone had put on anAvishai Cohen album at a house party and I overheard some musicians I had recently met raving about the flutist on the album. I exclaimed, “that is Anne Drummond! She is a friend of mine.”
Following that time I became very familiar with Anne’s music through various performances, and projects. I saw that her music pushed the craft of jazz way beyond anything commercially driven as it is charged with movement, color, and texture. This needed to be shared among fans, so I fervently urged Anne to record a new album.
We’d played often leading up to this time where I’d heard her sit down at the piano, exuding audacious soulfulness, as heard in her piece Early. Assuming that Anne could be a perfectionist like many artists, perhaps witnessing the ongoing quest of inverting a few chords here and there or extending improvised sections after ‘wood shedding’ and many live performances, she made a beautiful record.
Having grown up listening to Gene Harris, Anne would inevitably be drawn to her friend Benny Green to hand off the piano keys on the tracks she would be featured on flute. With the addition of the wizardry ofKeita Ogawa’s worldly and textured percussion, the music was given a heartbeat. It takes one creative mind to round up Dave Eggar on cello and Vic Juris on guitar and add them to the layer of sound.
From conception to completion, this album holds the attributes of a classic album of all original music with influences from Ahmad Jamal, Brian Blade’s Fellowship Band, D’Angelo, to Kenny Barron’s Brazilian projects.