Ali Ryerson states her purpose for this fascinating ensemble in both the albums title and in the liner notes. The flutist’s goal is to put together a complete release that demonstrates all that a flute can contribute to jazz. And she’s pretty darned successful at it here, with a band that includes 16, count ‘em 16flutists of various sizes and shapes as well as guests soloists as formidable as HollyHofmann, Nestor Torres, and the guy who put the flute on the map for jazz, Hubert Laws. The rhythm team of Mark Levin/p, Rufus Reid/b and Akira Tana has its work cut out for themselves, but they make it work.
Wisely, Ryerson uses a large part of the album to revisit and revise jazz tunes that have featured the flute in the past. Herbie Hancock’s “Speak Like a Child” and Oliver Nelson’s “Stolen Moments” were no-brainers for the call, and they sound wondrously rich here. A take of Hubert Laws’ CTI classic interpretation of “Pavane,” is a wonder to behold, while he himself solos brilliantly on “Stolen Moments,” but the real surprise is a riveting take of “Impressions” that has the flutes rides crests of waves in a fascinating arrangement. Neal Heft’s “Lil Darlin” is a nice call as well, with Bob Chadwick’s bass flute creating sounds like sorghum mixed with butter. The various flutes melded together is a hint of the celestial. Look for this one!
Capri Records