Cuneiform Records: Rune 270 
http://www.cuneiformrecords.com/bandshtml/smith.html 
http://www.cuneiformrecords.com/emails/wls-email-oct2010.html 
http://www.wadadaleosmith.com/pages/tabligh.html

* Wadada Leo Smith: trumpet
* Vijay Iyer: piano, Fender Rhodes, synthesizer
* John Lindberg: bass
* Shannon Jackson: drums
 
http://www.wadadaleosmith.com/ 
http://www.vijay-iyer.com/ 
http://www.johnlindberg.com/ 
http://www.ronaldshannonjackson.com/

Recorded live at RedCat in Los Angeles, CA at the
CalArts Creative Music Festival in 2005 (November 17). 
http://www.redcat.org/event/creative-music-festival-1 
http://music.calarts.edu/

Reviews
~~~~~~~

By Thom Jurek 
http://www.allmusic.com/album/tabligh-mw0000790830

Trumpeter Wadada Leo Smith remains as ambitious and creative as ever. Smith's
Golden Quartet was formed -- and its membership has shifted -- to foster a
particular kind of dynamic musical engagement. For this date, recorded at the
RedCat (sic) in Los Angeles, Smith called upon the talents of pianist and
keyboardist Vijay Iyer, bassist John Lindberg, and drummer Shannon Jackson. The
set is comprised of four long pieces that run from eight-and-a-half minutes to
over 24. "Rosa Parks," a 16-minute piece, opens the CD. It reflects the ongoing
influence of Miles Davis' electric work on Smith. A lone trumpet is heard at
the outset, sparse, single-note phrases played with great restraint, but
muscularity too. Iyer's Fender Rhodes enters very slowly and skeletally at
first, coloring Smith's lines only slightly. His synth provides a "breathing"
atmospheric sound under the Rhodes. Jackson enters with cymbals with Lindberg
playing arco. The halting, evolving melody begins to change shape a few minutes
in and the band comes together behind Jackson's shimmering yet propulsive
beat. They engage as an ensemble from the jump, wah-wah pedals on the bass, the
more strident pronouncements of the Rhodes and the dancing trapkit create a
palette for Smith to enter and play off of, winding them around him and his
trademark phrasing playing through them. The piece ends in a complete different
place than it began. "DeJohnette," named for the drummer (a founding member of
this band) comes at improvisation from a different angle. Iyer is on grand
piano, and of course Jackson laying down beats, breaks, and stuttering stops
and angles for the band to play off of. He is a consummate rhythm master. The
pianist and Lindberg engage freely in improvisation-building intensity before
Smith enters at about the four-minute mark, blowing hard.

[...]

--

By Stef 
http://www.freejazzblog.org/2008/05/wadada-leo-smiths-golden-quartet.html

By Jason Bivins 
http://www.dustedmagazine.com/reviews/4516

By Troy Collins 
http://www.allaboutjazz.com/tabligh-wadada-leo-smith-cuneiform-records-review-by-troy-collins.php

Par Guillaume Belhomme (fr) 
http://www.lesinrocks.com/musique/critique-album/tabligh/

Por Sergio Piccirilli (es) 
http://elintruso.com/2008/09/01/wadada-leo-smiths-golden-quartet-tabligh/