John Surman - Coruscating (ECM, 1999)

John Surman, soprano & baritone saxes, bass & contrabass clarinets

Chris Laurence, bass

Keith Pascoe, violin
Rita Manning, violin
Bill Hawkes, viola

Nick Cooper, cello

Recorded January 1999
CTS Studios, London
Engineer: Markus Heiland

Many jazz artists, including Clifford Brown and Charlie Parker, aspired to record standard songs with strings, hoping to dignify the jazz genre back in the 1950s. Coruscating is not John Surman's attempt at a "strings" album. Instead, he uses a string quartet as an integral context for eight improvisations. 

Chris Laurence's bass is essential to Surman's artistic vision of expanding improvisation to an instrument usually assigned a supporting role. As a seasoned jazz artist, Laurence has collaborated with Surman since the 1970s. He has contributed to British jazz even longer, working with virtually all of Britain's jazz luminaries over the past 60 years.

The supporting ensemble is named The Trans4mation String Quartet, assembled by Surman for this recording. The quartet was reunited for The Spaces in Between (ECM, 2007). Surman and Laurence are the primary soloists on both albums. Coruscating is a moody, mostly nocturnal program in which the string quartet shapes and shifts the context for the soloists. 

The minor "At Dusk," with Surman on soprano sax, serves as a prelude for what follows. On the second track, "Dark Corners," the strings paint the mood with a series of chords over which Laurence improvises a bass solo. As unusual as that may sound, it works beautifully. Surman's bass clarinet further darkens the texture as the music intensifies, then abates. "Dark Corners" is relatively brief at 4:57 minutes, it but succeeds on all levels.

Another somber, yet celebratory, number follows: "Stone Flower," dedicated to Harry Carney. Surman switches to baritone sax, which he plays with uncommon delicacy and lyricism, appropriate for honoring Carney, who played the same way for decades in Duke Ellington's band. 

The next five numbers are more extended works, each apparently arranged around separate movements. For example, "Winding Passages" winds through a minor-key introduction by the strings, then moves to a dancing unison section for bass and baritone, punctuated by string chords at the end of each bar. (I picture elephants dancing!) The remainder of "Winding Passages" features improvised sections by string bass and bass clarinet, which exude urgency before calming to a satisfying conclusion.

"An Elusive Shadow" is music originally composed by Surman for a ballet. It introduces the contrabass clarinet, which stretches the group's sound pallet enormously. At 9:24 minutes, this piece resembles film music divided into movements for different scenes. Toward the end, Surman's soprano sax sings like a bird, followed by a final movement that returns to the shadows.

With the sole exception of "Crystal Walls," whose movements feel less coherent, I find Coruscating to be impeccably played and thoroughly rewarding.

Theo Jörgensmann, Snijbloemen (hatOLOGY, 1999)

Theo Jörgensmann, clarinet
Christopher Dell, vibes
Christian Ramond, bass
Klaus Kugel, drums

Recorded January 19 & 20 and April 14, 1999
Vagnsson Studio, Hannover, Germany
Engineer: Hrolfur Vagnsson

When reading The Penguin Guide to Jazz, I often encounter artists I had never heard of before. Theo Jörgensmann was one of many that I chose to take a chance on. I was attracted by the instrumentation: vibes and clarinet resonate with me, and my previous posts for Ralph Peterson and Jay Hoggard are evidence of this. The Guide's reviews of Jörgensmann's quartet albums were also very positive.

                    Ramond          Dell        Kugel       Jörgensmann

Snijbloemen (translated from Dutch as "cut flowers") is a refreshing free jazz exercise by an all-German quartet. Jörgensmann and vibist Christopher Dell are the primary voices, and they enjoy a sympathetic connection.  However, Christian Ramond and Klaus Kugel are essential partners who appear to anticipate what the lead voices require while provoking much of the action. 

As with a few other posts, I run into difficulties describing freely improvised music. However, I've clipped the following comments from a website used by the quartet to promote current activities. These comments match my own freely associated response to the quartet's music.

Vibrating and stunning communication on the finest technical level imaginable. -music against the law of purity (...) dancing elegance, humorous intelligence, sensitive poetry (...), the ultimate improvised chamber music. (Weltwoche, Switzerland, 2002).

Much to my delight, the quartet continue to perform and record. Their album At the Fields Edge (Not Two, 2025) is every bit as stunning as their recordings from 25 years earlier. It's gratifying to blog about artists who have sustained a level of excellence from the 1990s through to the present. It is rare to find an intact quartet exploring the same vein of improvisation as they did a quarter century earlier. 

Anyone interested in exceptional group improvisation delivered by obvious virtuosi should check out the Theo Jörgensmann Quartet. Especially recommended are Snijbloemen's sequel, To Ornette: Hybrid Identity (hatOLOGY, 2001), and the earlier Ta Eko Mo (Z.O.O., 1997).

Christopher Dell - Dancers on a Plane (Konnex, 1998)

Christopher Dell, vibes
Heinz Sauer, tenor sax
Stephan Schmolck, bass

Recorded 1998

Performance Studios, Frankfurt
Engineer: Stefan Noltemeyer

I first encountered German vibist Christopher Dell as a sideman on Snijbloemen, an album by clarinetist Theo Jörgensmann's quartet. At the time, Dell was in his mid 30s with several recordings of his own, including Other Voices, Other Rooms (L+R, 1995), cut at Systems Two in Brooklyn with Americans Jim Black and Billy Drews in the band. Other Voices feels like a mismatch of talents, as the Americans seem more focused on bebop, leaving Dell outside of his comfort zone. The exception is the title track, on which Drews' soprano and Dell's vibes float mysteriously over Black's drums.

I found Dancers on a Plane in Jamey Ebersold's print catalog and ordered it along with several other CDs. But I was not charged for my order, and it was not sent. Ebersold had not entered the world of dot.commerce, leaving me in the dark about the order. So I gave up, but over a year later I received the entire order - and at last I had what I wanted. 

Dancers on a Plane is performed by a trio: vibes, bass and tenor sax. I know of no other group using that configuration. Tenorist Heinz Sauer was active recording on German labels such as Enja, L+R, and ACT, but I was not familiar with his recordings. On Dancers on a Plane, he produces sounds ranging from ethereal to majestic over Dell's chiming foundation.

Bassist Stephan Schmolck was a regular member of Sauer's groups. His contribution to Dancers on a Plane is essential to the group, not only for providing a bottom to their sound, but also for adding textures ranging from plucked and bowed strings to percussive raps on his bass's wooden body. 

It is challenging to analyze Dancers on a Plane track by track. The overall impression is of sounds floating in ever-shifting patterns. Some are based on repetitive figures played by vibes or bass; others are softly mysterious. Linear paths are pursued by any of the three players, only to become implicated in free interplay. On track 4, a bowed bass and vibes somehow generate a loop of what sounds like raindrops throughout most of the track's 6:38 minutes. Dynamics and space are employed to great effect throughout.

I recently learned that in 1998 Dancers on a Plane earned the prestigious “Preis der Deutschen Schallplattenkritik/ Viertelsjahresliste” (Quarterly List of the German Record Critics’ Award). Apparently, my homegrown appreciation for the album is connected to intellectual merits I was unaware of. As described by Dell on his enw website, "With Dancers on a Plane a new synthesis evolves, which in a new way brings New Music and the Frankfurt School in contemporary jazz together." Dancers On A Plane | Christopher Dell. I have a paltry understanding of the intellectual traditions of European music, but it's comforting to discover that my appreciation of Dell's work is not merely personal preference.

Once difficult to find, Dancers on a Plane is currently available as a download or streaming on Qobuz.

Finally, there is some confusion regarding the recording date. The CD booklet reports 1997. Dell identifies the recording date as 1998 and the release date as 1999. 

Jim Snidero - The Music of Joe Henderson (Double-Time, 1998)

Jim Snidero, alto sax
Conrad Herwig, trombone
Joe Magnarelli, trumpet
David Hazeltine, piano
Dennis Irwin, bass
Kenny Washington, drums

Recorded December 21 & 22, 1998
Van Gelder Studio
Engineer: Rudy Van Gelder

Tribute albums often leave me feeling empty. Too often, musicians celebrating the music of other artists simply play repertory, which in the jazz world is not enough. A tribute should not only cover the significant compositions of the honorees but also offer new interpretations. For example, Joe Henderson's own tribute to Miles Davis (So Near, So Far) succeeds because it updates Davis's music, especially some of his earliest recordings. See my previous post of this album for details. 

Jim Snidero's The Music of Joe Henderson offers fresh arrangements of Joe Henderson's works, many of which were written for tenor-led quintet or quartet formats. As I listen to Snidero's arrangements for sextet, I marvel at the strength of Henderson's legacy as a composer. Six of the eight tracks have become classic jazz repertoire and are instantly recognizable. Even "Black Narcissus" and "Afro-Centric," which debuted on Henderson's Power to the People (Milestone, 1969), are frequently covered by other musicians. All of Henderson's compositions are fascinating to study and easy to enjoy. 

The unifying thread across all eight numbers is Snidero's lyrical alto sax. Stylistically, Snidero owes an obvious debt to Cannonball Adderley, but as Zan Stewart's booklet notes clarify, Snidero's tone contains a rich "boppish tinge" that is all his own. Few tenorists, much less altoists, have ever sounded like Henderson, whose burnished tone and unique phrasing defy imitation. Snidero's reimagining of Henderson's classic songbook, composed originally for tenor sax, is exactly what a tribute album should be. 

The band are all experienced players who have gone on to represent the best of modern mainstream jazz. For his part, Conrad Herwig is a consummate section player who also delivers memorable solos. He appears to lay out on "Serenity," but delivers strong solos elsewhere, especially on the opening "If."

Joe Magnarelli, the third horn in the sextet, shines particularly on "Serenity," one of Henderson's greatest tunes. He is also featured on "Afro-Centric," taking advantage of the tune's additional blowing space. His section work is instrumental to the tight arrangements and cohesive sound of the full sextet. He has a bright tone reminiscent of Freddie Hubbard.

Pianist David Hazeltine is also the right player for Snidero's tribute, but he is not favored by Rudy Van Gelder's modified miking of the RVG studio piano, which loses much of its natural resonance. Regardless, his solo on "If" demonstrates his facility at a brisk tempo. He's one of the most dependable and prolific pianists on the scene today.

Stewart's informative booklet notes give a detailed view of Henderson's work and Snidero's connection to it. Notes like these are positive features of Double-Time releases that, unfortunately, are now difficult to find.

Steve Davis - Vibe Up! (Criss Cross, 1998)

Steve Davis, trombone
Steve Nelson, vibes
Peter Bernstein, guitar
David Hazeltine, piano
Peter Washington, bass
Joe Farnsworth, drums

Mike DiRubbo, alto sax

Recorded December 19, 1998
Systems Two, NYC
Engineer: Max Bolleman

By the late 1990s, Criss Cross had settled into a Blue Note‑like routine: regularly recording a tight circle of trusted musicians in shifting combinations. It continues to be a winning strategy for the label and a great opportunity for artists like Steve Davis to gain prominence as a leader.

Beginning his career in 1990 in a late version of Art Blakey's Jazz Messengers, Davis had no apparent trouble getting gigs playing with groups led by artists like Jackie McLean, Leon Parker, Mario Pavone, and John Swana. Vibe Up! was Davis's third album as a leader and second for Criss Cross. Since 1998, he has recorded at least 20 albums and contributed to dozens more as a sideman or co-leader. Discogs catalogs over 170 appearances, and his pace of recording has not slowed down.

Vibe Up! is a bright, punchy set of five originals by the leader, two by guitarist Peter Bernstein, "The Summary" by Thad Jones, and Leonard Bernstein's "Somewhere." Davis's choice of instrumentation is unusual, if not unprecedented. The rhythm section is conventional, but a front line of two horns (trombone and alto sax), vibes, and guitar is a rarity. With five instruments capable of soloing on every tune, it's a challenge to write charts to handle the diversity. Davis not only handles the challenge but also exploits it to turn Vibe Up! into a modern classic. 

The first two tracks, both penned by the leader, illustrate Davis's approach to arranging. "Vibe Up!" is a cool cooker whereas "It's the Little Things that Count" has a sweet song-like melody. The theme statements on these originals pair trombone with vibes, creating an uncluttered combination of timbres. The solos on both tunes progress in orderly fashion over the sympathetic rhythm team.

Blue Domain's" boogaloo tempo harkens back to the Blue Note albums of the late 1960s. "Somewhere" is given a halting, up tempo treatment. Solos alternate walking beats and double-time choruses and a drum solo from Joe Farnsworth.

Thad Jones' "The Summary" first appeared on the Jones-Lewis big band's Suite for Pops (Horizon, 1975). It's the one true ballad on Vibe Up! Davis eschews a horn arrangement for "The Summary" and states the theme by himself on trombone. Peter Washington is featured on an extended bass solo. 

Perhaps the most interesting track on Vibe Up! is "Tournesol," which involves a modal shift in pace from 3/4 to 6/8. At first, it sounds like alternating 3/4 and 4/4, but closer listening reveals that the 3-beat simply accelerates into a 6/8 feel within each solo. It's a nice arranger's touch. Mike DiRubbo's Jackie Mclean-influenced alto on "Tournesol" has never sounded better. Although only appearing on three tracks, DiRubbo fills out the sound of the primary quintet. 

The secret star of the session, however, is Joe Farnsworth, whose unfaltering drum work gives the entire session a solid foundation.

Dave Holland - Prime Directive (ECM, 1998)

Dave Holland, bass
Chris Potter, tenor, soprano & alto saxes
Robin Eubanks, trombone
Steve Nelson, vibes & marimba
Billy Kilson, drums

Recorded December 10-12, 1998

Avatar Studios, NYC

Engineer: James Farber

The Dave Holland Quintet (DHQ) recorded 8 albums between 1984 and 2006. Prime Directive sits chronologically between two others of my favorite DHQ albums: Points of View (ECM, 1998) and Not for Nothin' (ECM, 2003). In my opinion, all of the DHQ albums from this period stand out among Holland's many contributions to jazz since the late 1960s. He is one of the most prolific artists in the long history of jazz. Turning 80 years old in 2026, Holland's recording credits number more than 650. 

For me, the quintet is Holland's most intriguing format. The absence of piano opens the playing space for Holland and vibist Steve Nelson in particular. I don't often realize how much musical range a piano can dominate, including the bass's lower register. With no instrument designed to play chords, the quintet's harmonies are formed across different instruments, creating novel textures and colors. The harmonies are not necessarily delicate. This is not polite ECM chamber music; it’s visceral, raucous at times, but intensely musical all of the time.

Of the soloists, saxophonist Chris Potter is the most adventurous. But balance is maintained by Holland's steady pulse, Nelson's lyricism, and Robin Eubanks' connective middle voice. On most numbers, Holland's compositions guide the group's loosely shifting collective conversation. The DHQ is among the most recognizable quintets in all of jazz, and that's no small feat.

The common denominator throughout Prime Directive's program is Holland's emphatic bass lines. Known for his odd meters and "bouncy" approach to composing and playing, Holland is the group's own prime directive. He is also a gifted soloist but chooses not to show off his technique at the expense of the group.

The earliest DHQ albums were recorded by Martin Weiland at Tonstudio Bauer in Germany. From 1988 onward, the DHQ's albums were recorded in the United States at Avatar Studios, with engineer James Farber at the console. The American recordings are more satisfying to my ears than the German ones.

Extended Play (ECM, 2003) is a 2-CD live album recorded at Birdland by Farber. "Extended" is the operative word describing the length of the live cuts. Five of the 9 tracks exceed 15 minutes, and only one is less than 10 minutes. It's worthwhile to experience the DHQ playing live, but perhaps not in one 2-hour-and-15-minute sitting.

Prime Directive captures the DHQ at its peak, confidently performing the group's repertoire. Farber's studio sound captures everyone's contribution to the group sound in great detail. None of the DHQ's albums are disappointing, but Prime Directive is the most joyous.

Tomasz Stańko - From the Green Hill (ECM, 1998)

Tomasz Stańko, trumpet
John Surman, baritone sax & bass clarinet
Dino Saluzzi, bandoneon

Michelle Makarski, violin
Anders Jormin, bass 
Jon Christensen, drums

Recorded August 1998

Rainbow Studio, Oslo

Engineer: Jan Erik Kongshaug

I mentioned in a previous post that From the Green Hill is one of two albums by Tomasz Stańko to earn a place in my favorite jazz albums of the 1990s. Most of Stańko's music is somewhat bleak, according to the artist himself. Litania (1997) and From the Green Hill are the exceptions. With John Surman, Dino Saluzzi, and Michelle Makarski sharing the front line with Stańko's stark trumpet, the mix is intoxicating. 

Saluzzi's bandoneon is a small accordion that affords both single notes and chords, all played with a reedy yet emotive resolve. Surman plays mostly bass clarinet but uses his baritone sax effectively on a pair of cuts. The low registers of either horn contrast with Stańko's high brass and Makarski's violin. Bassist Anders Jormin and drummer John Christiansen provide a colorful backdrop for the proceedings. Jormin in particular adds deep resonant bass to the range of sounds. 

The blend of timbres across low and high frequencies immerses the listener in an unimaginably warm sonic bath. There is none of the cold "ECM sound" often found in Stańko's other recordings. I'm amazed at how well balanced the instruments are, given their variety. This may very well be the most challenging, and most successful, of engineer Jan Erik Kongshaug's many ECM projects. 

The program opens with Surman's "Domino," which introduces the blend of woodwind, violin, bandoneon, and trumpet. "Domino" blooms like a garden of sounds. The first of two interludes of "Litania" follows. In my previous post for the album Litania, I raved about this composition. The versions on Green Hill are shorter (2:41 and 2:00, respectively) and serve to bracket "Stone Ridge" and "...Y Despues De Todo," which translates as "and after all."

"Stone Ridge" is almost symphonic in scope over its 8 minutes. A lone violin is joined by a lumbering bass clarinet, over which a plaintive muted trumpet demands to be heard. Midway through, "Stone Ridge" becomes a folk dance that intensifies while the trumpet strives not to lose its lyrical footing. Later, the piece slows to a peaceful duet between violin and bass. 

"The Lark in the Dark," serves as another prime example of Green Hill's superior sound engineering. Surman's baritone is the least delicate of the band's instruments, but here it is rendered perfectly, as is Jormin's extended bass solo.

Stańko composed "Love Theme from Farewell to Maria" for a 1993 Polish film - Pozegnanie z Maria (Farewell to Maria). It's a tuneful, rhythmic contrast to most of the other tracks. 

For From the Green Hill, German producer Manfred Eicher drew musicians from six different countries. The band includes a Pole, an Englishman, a Norwegian, a Swede, an Argentine, and an American. Michelle Makarski, the American, is credited with six of her own albums including several in ECM's New Series.

Bobby Watson - Quiet as It's Kept (Red, 1998)

Bobby Watson, alto & soprano saxes
Terell Stafford, trumpet
Greg Skaff, guitar 

Orrin Evans, piano

Curtis Lundy, bass
Ralph Peterson, drums

Marion Simon, percussion

Pamela Watson, vocal (one track)

Lenny Argese, guitar (one track)

Recorded August 10 & 11, 1998
Bioya Recording Studio, Paterson, NJ
Engineer: Lenny Argese

Bobby Watson caught the "return to tradition" wave at just the right time. His first recordings from 1978 and 1979 managed to escape inheritance of 70's fusion. Instead, he formulated his own neotraditional style that featured fresh compositions and a soulful performance style.

Watson's debut, Estimated Time of Arrival (Roulette, 1978) was recorded over a period of four months and collectively involved over 20 musicians across five sessions. The album title probably is meant to signal Watson's arrival on record, but it also implies some doubt about when the project might be finished.

The follow up, All Because of You (Roulette, 1979), was recorded by a band of seven musicians in one day. I note that Watson was one of All Because of You's producers, a role he would assume for many of his subsequent albums. Not only were his self-produced albums released in a timely manner, but they were also uniformly excellent.

I made a point of following Watson's career in the 1980s as he was putting out superb music on a variety of labels, including Blue Note with his group Horizon. His Love Remains (Red, 1984) became a critical favorite, and Jewel (Amigo, 1983) became a personal favorite of mine. 

Quiet as It's Kept has been with me since it was released, and I think I could play it every day and not tire of it. It's what "smooth jazz" can only aspire to be: intelligent, beautiful, complex, soulful, and clever. It's emotional in a positive way, as if Watson wished to create something inspiring while not compromising any of the qualities that distinguish the best jazz. Although the positivity is uniform from track to track, the program is also quite varied in terms of personnel, compositions, and arrangements. 

Quiet as It's Kept begins with Orrin Evans' "Looking in Your Eyes," a showcase for Watson's beautiful alto tone. The percussionists, Ralph Peterson and Marlon Simon, lay down a shifting, rhythmic foundation while Watson and guitarist Greg Skaff solo. This piece should have words written for it. 

Watson's "Always a Friend" follows, with Skaff playing acoustic guitar alongside Watson's alto. "Afternoon in Ottobrun" finds Pamela Watson, Bobby's wife, casting a spell with her wordless vocals. "Watch the Children Play" features engineer Lenny Argese's guitar complementing Watson's alto. 

Beginning with track 7, trumpeter Terell Stafford joins the group for three numbers. He plays muted trumpet on the title track and open horn on "Nubian Breakdown" and "Nanatsu-No-No." The two horns swing mightily on "Quiet as It's Kept." The Japanese folk song also contains swinging 4/4 solos between the traditional melody statements.

Bobby Watson's long career is full of successes. Quiet as It's Kept is surely one of his best.

To read my post for Watson's Love Remains go to:

Post: Edit Love Remains.

A review of Watson's The Inventor is available at:

Post: Edit The Inventor.

Joe Chambers - Mirrors (Blue Note, 1998)

Joe Chambers, drums & vibes
Eddie Henderson, trumpet
Vincent Herring, tenor & soprano saxes
Mulgrew Miller, piano
Ira Coleman, bass

Recorded July 7 & 8, 1998

Sound on Sound, NYC

Engineer: David Baker

Joe Chambers is one of the most lyrical drummers I have ever heard. He also plays vibes and piano and composes memorable pieces: a complete musician. On Mirrors, he leads a sextet of sophisticated boppers who all rise to the occasion to make a late 1990s Blue Note album truly special. 

Chambers composes all but two of the tracks on Mirrors. “Caravanserai” is my favorite of the originals. Its North African theme conjures visions of ancient desert culture, echoing the imagery of his earlier album The Almoravid (Muse, 1974), named after a medieval Berber dynasty. Other originals show Chambers’ talent for complex rhythms (“Tu‑Way‑Pock‑E‑Way”), balladry (“Ruth”), and modal composition (“Mirrors”).

The most pleasant surprises on Mirrors are the inclusion of two classic R&B hits: Michael Jackson's "Lady in My Life" and Janet Jackson's "Come Back to Me". The two covers are not misguided attempts at crossover fusion but rather demonstrations of jazz's huge capacity for interpretation. Their inclusion raises the whole album to the highest level.

Chambers plays vibes on "Lady in My Life," which give the tune a new identity for jazz audiences. I do not miss the lyrics, proving that composer Rod Temperton was not a lyrics-only songwriter. His melody and chord changes turn "Lady in My Life" into the classic it has become.

"Come Back to Me" offers the horns a chance to channel their inner R&B instincts. Vincent Herring's soprano sets the proper mood, sustained by Mulgrew Miller and Eddie Henderson in their solos. 

The closing number, "Ruthless," is a showcase for Miller's extended piano solo, followed by a tasty bass solo from Ira Coleman, some trading of fours with Chambers, and a satisfying return to the opening riff. 

Eddie Henderson - Dreams of Gershwin (Key'stone, 1998)

Eddie Henderson, trumpet
Joe Locke, vibes
Kevin Hays, piano
Ed Howard, bass
Billy Drummond, drums

Recorded March 24 & 25, 1998

Clinton Recording Studio, NYC

Engineer: Troy Halderson

Eddie Henderson has been recording jazz albums for more than 50 years. His recent Witness to History (Smoke Sessions, 2022) honors a legacy of jazz subgenres beginning with his fusion years through to steady work with Billy Harper and his own quintets. Dreams of Gershwin documents two recording sessions in 1998 during a decade of "resurgence" after a less fruitful decade of the 80s. 

Complete albums dedicated to George Gershwin's compositions are fairly common. Miles Davis's collaboration with Gil Evans (Porgy & Bess, Columbia, 1959) leads the pack, which raises the question: What more could be learned from yet another Gershwin tribute?

Henderson does not aim for anything radical on Dreams of Gershwin. He has learned not to mess with sacred texts, and his renderings of Gershwin's well-known body of work are approached with reverence. The band throw their hearts into the project, never coasting or going through the motions. While the overall vibe is intended to be "dreamy," as the album title suggests, careful listening reveals subtle nuances and new shades of meaning in old works.

The highlights include Henderson's trumpet solo on "It Ain't Necessarily So," Joe Locke's tempo-free introduction to "I Loves You Porgy," Billy Drummond's rhythmic variations on "Summertime," Kevin Hays' piano solo on "The Man I Love," and Henderson's creation of a medley comprising "Embraceable You" and his own "Natsuko-san." 

In addition to the Gershwin program, Locke's "Saturn's Child" closes the program and keeps the laidback vibe going to the end. Locke has included this piece on at least four other albums, and it deserves its wide exposure. He is namechecked earlier in this blog for his duet with Kenny Barron, But Beautiful.

Dreams of Gershwin is a Japanese release that overlaps with the content of the American album, Reemergence (Sharp Nine, 1999). Reemergence includes the "Gershwin Suite" of four songs. Dreams of Gershwin contains the same songs plus a couple of extras. The differences between the two releases are practically inconsequential.