11 Songs, 1 Hour 11 Minutes

EDITORS’ NOTES

The brilliant trio of pianist Ethan Iverson, drummer David King, and bassist Reid Anderson have managed a feat few jazz acts have ever even attempted: fame and acceptance in the rock world. Their jazzy cover versions of Black Sabbath’s “Iron Man,” and Nirvana’s “Smells Like Teen Spirit” will forever reign as jazz/rock milestones. Some jazz purists of course have a different view, but few can debate the monster chops, instinctual musicianship, and sense of adventure that’s present on an album like Prog. Iverson’s “Mint” is jumpy post-bop jazz that refuses to alight and Anderson’s “Giant,” which is one of the band’s finest originals ever, works in a quieter, more spacious and sentimental way that showcases each man’s solo gifts and the ensemble’s gorgeous cohesion. For fans of the band’s cover happy personality, there’s Tears for Fears, “Everybody Wants to Rule The World,” and a bright, fun version of Rush’s “Tom Sawyer” where Anderson’s nimble bass amusingly takes the Geddy Lee vocal part. The future of novel, intrepid jazz can be heard in this aptly named collection.

EDITORS’ NOTES

The brilliant trio of pianist Ethan Iverson, drummer David King, and bassist Reid Anderson have managed a feat few jazz acts have ever even attempted: fame and acceptance in the rock world. Their jazzy cover versions of Black Sabbath’s “Iron Man,” and Nirvana’s “Smells Like Teen Spirit” will forever reign as jazz/rock milestones. Some jazz purists of course have a different view, but few can debate the monster chops, instinctual musicianship, and sense of adventure that’s present on an album like Prog. Iverson’s “Mint” is jumpy post-bop jazz that refuses to alight and Anderson’s “Giant,” which is one of the band’s finest originals ever, works in a quieter, more spacious and sentimental way that showcases each man’s solo gifts and the ensemble’s gorgeous cohesion. For fans of the band’s cover happy personality, there’s Tears for Fears, “Everybody Wants to Rule The World,” and a bright, fun version of Rush’s “Tom Sawyer” where Anderson’s nimble bass amusingly takes the Geddy Lee vocal part. The future of novel, intrepid jazz can be heard in this aptly named collection.

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