hatOLOGY 670 
http://www.hathut.com/home.html?content=ology-content.html

* Taylor Ho Bynum: cornet, trumpet, flugelhorn
* Allan Chase: alto saxophone, baritone saxophone,
. soprano saxophone
* Joe Morris: double bass
* Luther Gray: drums

Homepage:
~~~~~~~~ 
http://www.joe-morris.com/

Review
~~~~~~ 
http://www.allaboutjazz.com/php/article.php?id=31340

By TROY COLLINS
Published: December 16, 2008

One of today's most iconoclastic jazz guitarists, Joe Morris is a staunch tonal
purist whose crisp, spidery cadences and blistering angular runs are legendary
in the jazz underground. Seeking new avenues for expression, Morris added
upright bass to his instrumental arsenal in 2000. Since then, he has split his
time between leading his own ensembles as a guitarist and playing bass as a
sideman with fellow artists Rob Brown, Whit Dickey, Steve Lantner, Daniel Levin,
and Matthew Shipp.

High Definition is a paradigm shift for Morris; this is his first session
leading an ensemble as a bassist. Joined by longstanding drummer Luther Gray,
Morris enjoys the steadfast support of a like-minded veteran. With the animated
front-line of cornetist Taylor Ho Bynum and saxophonist Allan Chase, they offer
a varied program of piano-less quartet traditions; vibrant West Coast styled
arrangements and folksy Ornette-ish lyricism alternate with probing,
experimental detours that border on Ayler-esque cacophony.

Morris' expansive writing straddles the tenuous line between inside and outside
aesthetics with graceful fluidity, allowing ample solo space for each member of
the quartet. With their infectiously knotty themes, harmonic sophistication, and
lilting syncopation, "Skeleton," "Land Mass," and "All-In-One" feature ebullient
melodies, rich chord changes, and spry rhythmic patterns. Tunes like "Morning
Group," "Topics," and "Super Spot" head further out, embracing fluctuating
tempos and unfettered polyphony.

An invigorating front-line voice, Bynum's blustery excursions evoke every aspect
of the jazz tradition, from crisp hard-bop precision to elliptical cadences that
bristle with pungent slurs, whinnies, and growls. An incisive conceptualist, his
coruscating smears on "Land Mass" and "The Air Has Color" are both caustic and
strangely tuneful. His rousing thematic variations on "Topics" reveal masterful
technical virtuosity while his muted musings on the dulcet tone poem "Bearing"
reflect a composer's sense of restraint.

A deft and under-sung multi-instrumentalist, Chase's kaleidoscopic contributions
make him a perfect foil for Bynum's earthy elicitations. His baritone resounds
with pneumatic muscularity on "Skeleton" and "All-In-One," while his alto veers
from circuitous fervor on "Topics" to acerbic volatility on "Morning Group." He
demonstrates a lyrical streak on "Bearing" and "The Air Has Color," unfurling
sinuous soprano fragments.

Morris' elastic melodic contours and Gray's impeccable timing weave a mosaic of
effervescent momentum as their finely honed conversational interplay provides
direction to even the most nebulous passages. Sounding confident and inspired,
Morris solos on almost every tune, unveiling a robust tone and supple
phrasing. Gray demonstrates a wide dynamic range, veering from the roiling
assault of "Super Spot" to lithe percussive shading on "Bearing."

High Definition opens a promising new chapter for Morris as a bandleader. No
longer limited in his choice of instrumentation as an ensemble leader, this
radiant session reveals new vistas for exploration from one of the most creative
minds of his generation.