But touring with Wayne Shorter and Herbie Hancock’sTribute To Miles the following year made a truly profound impact on hispersonal journey.

“Ihave so much respect for those men, so I asked them how I could best contributeto this music. Without hesitation and in one voice they said: ‘Lead. That’swhat we hired you to do.’ That brought it all together for me.”

Through that epiphany, Jones set out with a new motivation firmly in place, and im•pro•vise began to take form. Paring his artistic viewpoint down to the basics, hedecided to make his first quartet recording with his longtime bandmates, thedynamic pianist Orrin Evans, and the seamless bass/drum tandem of Luques Curtisand

Obed Calvaire. Furthermore, he chose to do it old school.

“Allof my previous albums were ‘productions’ with overdubs, etc,” says Jones. “Thistime it was just the four of us in one room, no barriers between us, playinglive.” The sense of immediacy and urgency that has always been a key element ofthe jazz art at its highest level is front and center throughout this entirealbum. Another essential tradition of looking back to look forward is also omnipresent here, and that includes the full scope of that legacy from its blues roots to its freer explorations.

Thatperspective is clearly expressed from the very beginning with the opening track“60th and Broadway,” as the influences of iconoclasts like DonCherry and Lester Bowie are included in the vernacular over which Jones displayshis flawless command. “This piece was a nod to all the great years I spent atLincoln Center,” says the trumpeter. “I’m so grateful, but it was time to moveon.” Clearly this movement is both focused and bold, as this piece demonstratesa group synergy locked into a unity of purpose and joy of discovery.

Thereare five more Jones originals on the album, each of them exquisitely crafted asan ideal launching point for the improvisational exploration. These are nothead-solo-head constructs. Instead, the approach on these pieces—and on theentire repertoire—is one of evolution and organic development. Appropriate tothat vision, there is a floating sense of time, with a rubato feel often atplay alongside distinct rhythmic sections, creating a context that is almostcinematic. These are tales sometimes told gently, sometimes with vehemence;sometimes cryptically and others in matter-of-fact terms. “All of my compositionshave a specific meaning,” explains Jones, “something that has happened to me,or affected me in some way.”

“DarkTimes” was written over 10 years ago while Jones was pursuing his MastersDegree at Rutgers. “It’s a reflection of a time of struggle and uncertainty…andmy decision to put it aside and just move ahead.” As the atmospheric, darklylustrous rubato opening moves into the fluidly lyrical theme, that depiction isvividly stated. With a freely floating tone reminiscent of Miles’ Filles de Kilimanjaro period, Seandemonstrates his command of the Miles philosophy of time and space where what’snot played is as important as what is.

Theopening and closing movements from the five-part “Date Night Suite” areincluded here. “New Journey” is a joyful romp—open, freewheeling, but anticipatory and speculative. The closing movement, “The Morning After,” beginsas a lovely anthem-like ballad “reflecting on the night before,” explainsJones, “then hopeful, speculative,” as an exuberant foray erupts with joyfulpossibilities.

Aballad of filigreed beauty, “We’ll Meet Under the Stars,” is a serenelyevocative piece, with the melodic line caressed lovingly between Evans andJones, cushioned by marvelously subtle bass and drums interplay.

“Thereare times when you just have to say ‘I don’t give a damn’ and go with what yourfeelings are,” expresses Jones, and thus, the “I.D.G.A.D. Blues,” written onthe bandstand in the middle of a wee-hours set. The blues is the core of jazzexpression and this piece has that late night intimacy where the musicians arejust playing for themselves—and whoever happens to be lucky enough to be thereto hear it.

Whileone can easily envision that blues being played by Roy Eldridge and TeddyWilson, another staple of the jazz repertoire receives a most unusualtreatment. “How High the Moon”—a longstanding vehicle for jam sessions,vocalists, swing bands and bop ensembles—is constructed, deconstructed andreconstructed, offering a surprising new chapter to an often told story in anunexpected time and place. The trumpeter also provides a fiery newinterpretation of Jackie McLean’s “Dr. Jekyll” (best known from Miles’ Milestones album). “I wanted to leteverybody stretch out in the tradition,” says Jones, and stretch out they do,in breathtaking and virile terms.

Jonesincludes a piece by another outstanding altoist with “Interior Motive” by JoeFord. “Joe has always

beenvery inspirational to me, encouraging me since we worked together with the FortApache Band and with Charles Fambrough,” reflects the trumpeter. Built upon arichly wooded bass vamp and splendid drumming, the piece weaves in and out ofvarious rhythmic contexts and shifts moods audaciously, but with perfectcontinuity.

PianistEvans contributes “Don’t Fall Off the L.E.J.” for the album. “You can’t playwith a band unless you take chances while playing together,” says Jones of thisspirited excursion, delivered in straightforward fashion, delightfullysyncopated and swinging fervently.

Thisextraordinary album concludes on a most poignant note with Stephen Sondheim’s“Not While I’m Around,” dedicated to Jones’ mother. “My mother has been socrucial in my life. I love Sondheim, and this piece just encapsulates heressence to me.”

Powerfully committed to his art and clearly focused upon where he wants to take it, Jones has developed one of the most impressive and compelling ensembles on today’s scene, all of whom are committed to performing together and taking their place alongside the most affecting and important ensembles in jazz.

Togetherthis quartet generates the consummate energy to which all truly dedicated jazzartists should aspire. The musicians bring everything they have to the table,making the music their own, yet always understanding that the purpose is tofulfill the vision of the leader. “I want to reflect the tradition of what jazz is,” says Jones, “and my voice is a voice that needs to be part of it.”