Press:

February 14, 2008
New York Times - MUSIC REVIEW
Flowing and Intricate, With a Toe in Many Styles
By NATE CHINEN

The pianist Edward Simon reconciles a few different agendas in his music, borrowing judiciously from classical impressionism, post-bop modality and the folk music of his native Venezuela. He's careful with his calibration of these and other influences, but the effort doesn't feel belabored. In his first set on Tuesday night at the Village Vanguard, his debut there as a leader, he projected flowing ease along with a canny sense of drama.

Mr. Simon wasn't alone in creating this feeling. His trio includes the bassist John Patitucci and the drummer Brian Blade, who have clocked meaningful time together in the Wayne Shorter Quartet. A couple of years ago Mr. Simon enlisted the same sterling rhythm team for an album called "Unicity" (Cam Jazz). On some level these musicians' Vanguard run is preparation for a sequel, which they are scheduled to record later this week.

A few pieces in the set were episodic, packed with cozy spaces for solo elaboration. "Abiding Unicity" began as a showcase for Mr. Patitucci, who bowed his bass with mournful ardor and then moved on to an impressively nimble pizzicato. What came next was an open-ended solo piano interlude. Mr. Simon made expressive use of his sustain pedal, so that even his more dissonant runs suggested a ripple instead of a rumble.

Mr. Simon's resourcefulness as a composer often involves some aspect of rhythm: he uses fluctuating tempos or asymmetrical vamps as a means of advancing his plot. On the arrangement of Dizzy Gillespie's "Woody 'n You" that closed the set, he had the trio repeatedly shift gears — from polyrhythmic 12/8 to fluttering waltz time to express-lane 4/4 swing — before clearing an open space for Mr. Blade, whose dazzling and supple improvisation stealthily traced the form of the song. There were similar twists and turns on "Impossible Question"; here Mr. Blade was let loose over an ostinato in 9/4 meter.

Yet intricacy wasn't the only mode of the set, which began with an untitled new piece with a straightforward post-bop feel, and elsewhere included a tune by Mr. Patitucci in tribute to the tenor saxophonist Joe Henderson. Swinging hard may not be Mr. Simon's strong suit — he has a way of skating over a groove rather than digging in — but he played with crisp assurance, and his bandmates threw themselves into the task.

They sounded just as committed to their purpose on "Pathless Path," an exercise in static harmony and gradual exposition. And as it does on "Unicity," "Path" followed a somber but engrossing rendition of "Prelude No. 9," by the Catalan composer Frederic Mompou. Mr. Simon played that melody in a ruminative cadence and with only the slightest and most respectful of variations.

Edward Simon at the Iridium March 1, 2007
By: Russ Musto
From: Allaboutjazz.com

All-star record dates are too often one-shot events after which the participants never get a chance to develop the creative potential first born in the studio before a live audience. So the appearance of pianist Ed Simon with bassist John Patitucci and drummer Brian Blade, colleagues from his excellent Unicity CD, at Iridium (March 1st) was an uncommon opportunity to see three masterful musicians band together into a unit greater than the sum of its parts. Drawing upon the combined strengths of the group's members as superior soloists and sensitive accompanists, the evening's music grew organically from seemingly simple beginnings, as in the opening "Infinite One," which started with Patitucci's repetitive bass ostinato, around which Simon set up his pretty melody, aided by Blade's spacious adornment. All through the piece the players moved freely about each other, blurring the lines between forefront and background. On "You're My Everything" the group was remarkably cliché-free in its approach to the classic jazz trio format. Simon's "Abiding Unicity," a highlight from the album, showcased the group's unified sound as it moved between delicate impressionism and explosive dynamics. Patitucci's "Michael," a moving tribute to the late Brecker, was a new composition that proved the trio's compatibility was not limited to familiar material, while "Pere" and "Pathless Path" demonstrated Simon's compositional prowess and the band's impressive interpretive skills.
Edward Simon Océanos
By: George W. Carroll/The Musicians' Ombudsman
From: Ejazznews.com

You are left right away with this wonderful sense of musical emergence as soon as you start to listen to this fine piece of work. Binney & Simon guarantee to provoke the heart & soul of the intelligent music lover as well as any inquiring devotee of jazz with their new project.

One hears a lovely underpinning of viable harmony, melody & cogent rhythmic vigor throughout in the essence of their artistic ideas. The listener should consider the very character & rhythmic content of this project which contains a sonorous, dynamic, & a high level of musical continuity. The harmonic ''color'' contained therein is stunning. Plus there's a field day of musical motion: contrary...chromatic...parallel, etc. Simply stated, it's compelling & beautiful.
Edward Simon Unicity
From: Allaboutjazz.com
By: Ken Dryden

Pianist Edward Simon's seventh CD as a leader is his best effort to date. On display are his gifts as an improviser, composer and arranger with two sympathetic partners--bassist John Patitucci and drummer Brian Blade. The entire CD has the feeling of a suite, rather than separate unrelated tracks that just happened to be recorded during the same session, even though the leader did not compose everything himself. The Venezuela-born pianist's light touch works in his favor as he restrains himself from excessive notes when just a few will suffice; likewise, his band mates are of the same mindset.

Simon performs Catalonian composer Frederic Mompou's haunting "Prelude No. 9" with minimal accompaniment, adding an improvised section and slightly modifying its time signature. His driving original "The Midst of Chaos" is the best overall solo showcase for the musicians. The character of his hypnotic vamp in "Eastern" is reminiscent of Keith Jarrett's concert improvisations of the mid ‘70s, with Blade's hand percussion adding a nice touch.

There are two versions of the pianist's brooding "Abiding Unicity." The initial rendition is more dramatic, enhanced by Patitucci's warm arco bass in its swirling introduction, with Simon's enchanting solo displaying subtlety, backed by Blade's stirring percussion. The reprise of the theme at the end of the CD is of a totally different character, with a more straight-ahead rhythm, retaining a bittersweet flavor while offering a degree of hope not heard on the initial take. Patitucci switches to electric bass and takes the lead for much of the ominous-sounding "Evolution," and also contributed the cheerfully post-bop "The Messenger." Piano trios rarely reach the heights of Unicity.

Edward Simon Unicity
From: JazzReview.com

And to think there was a time when This Writer wasn't all that excited by piano trios…as a lad, I respected them, true, but I was always thinking, "Where's the horns or guitar?" I was young and got over it. I learned the Power of 3 via Bill Evans and Marilyn Crispell – they set me on the Path of Righteousness re: the keys/bass/drums configuration. Which brings us, pilgrims, to today's subject, the latest from key-cracker Edward Simon.

He's a pianist of sublime enchantments, as he's of the school of never blitzing the listener with a torrent of notes where/when a few spare tinkles will work magic. While never tentative or ponderous, Simon plays like a painter lovingly, intently strokes n' dabs his canvas. He mixes the contemplative approach of Evans with the dignified drama of Hancock and the noir-ish ballad side of Brubeck – wistful and introspective, but never self-absorbed or mope-y.

The other 2/3 equal his poised intensity – from their work with Wayne Shorter, most folk know of the capabilities of John Patitucci and Brian Blade as movers of the Earth. Here, Blade makes with subtle, crackling percussive swirls, forward-propulsion, and mini-quakes, while JP makes his basses (acoustic and electric) hum, sigh, and sing, drawing out guitar-like sonorities from time to time. Hard churning swing with forceful solos? Look elsewhere. But for tunefully impressionistic, mutedly lyrical piano trio jazz with sterling, low-volume soloing like cut gems and uncanny group empathy, perfect for late-night/ruminative listening, Unicity is IT. Five stars.


Edward Simon Unicity
From: Allaboutjazz.com
By: John Kelman

Artistic evolution is an interesting phenomenon. Emerging musicians, filled with the brashness of youth, are often more focused on chops, energy and complexity. But as many mature they evolve into players more concerned with space and profound simplicity. Edward Simon is a strong case in point: the pianist's earlier albums are filled with detailed compositions and an almost pathological approach to blending his South American roots with the sophisticated language of modern jazz.

Recently he's been paring down his approach, and Unicity represents his most compositionally stripped-down effort to date. But it's the very brevity of the charts here that frees Simon, bassist John Patitucci and drummer Brian Blade to create some of the most evocative music of Simon's career.

Shorter charts needn't imply any less challenge when it comes to improvisation, nor do they suggest a lack of spirited energy. In fact, with less detailed roadmaps, the trio is forced to rely even more on interpretive interplay and the kind of dynamics that can only occur when the musicians are speaking with a single voice.

"Pathless Path" revolves around a simple ostinato pedal point that's reminiscent of Keith Jarrett's Changeless (ECM, 1982). But Simon contrasts with Jarrett's stream-of-consciousness aesthetic through an equally emotive but more thoughtfully evolved chordal approach where the drama builds imperceptibly, noticeable only when Patitucci and Blade bring the dynamics back down and Simon becomes more linear.

"The Midst of Chaos" could suggest greater turbulence, and while it's the most exuberant track on the album, it's a centered piece featuring Patitucci's best solo of the set. Simon, while retaining his characteristically deft touch, is at his most intense while Blade—always a vibrant player—manages a unique combination of muscular power and refined elegance rarely experienced since Tony Williams passed away.

Frederic Mompu's dark and brooding "Prelude N.9," primarily a solo vehicle for Simon, allows him to surrender himself to the needs of the song. When Patitucci and Blade come in for just a third of the tune, their support is so understated that it's more felt than heard—noticed more, in fact, when they leave Simon alone again at the song's end.

Simon includes two versions of "Abiding Unicity." The first is a free-flowing affair: a tone poem with fluid time. The reprise, equally open-ended, bears a stronger pulse and more clearly defined changes. Together they demonstrate how the same idea, approached perhaps only hours apart, can yield diametric results. Unicity may find Simon paring down his approach, but it also finds him sounding emotionally deeper and more compelling with each successive release.



Edward Simon's performance at the Crossroads Festival (see the schedule for more details) is supported by USArtists International, a program of the National Endowment for the Arts with support from JPMorgan Chase and managed by Mid Atlantic Arts Foundation.

The performance will feature Edward's trio: Edward Simon -piano, Adam Cruz-drums, Ben Street -bass.






Edward Simon 'Spanglish' Jazz
From: Downbeat Magazine
By: Ted Panken
September 2005

"Pianist Edward Simon spent the 90's honing an approach the blended Latin, folkloric and mainstream jazz vocabularies coherently without, as Simon puts it, 'sacrificing anything either end'.

'It's like Spanglish," Simon said, referring to the asthetic he shares with peers like Danilo Perez and David Sanchez..." Read more >>






Edward Simon Simplicitas *****
From: Jazz Wise Magazine
Review by: Brian Preistly
Criss Cross Records

"An absorbing recital by the Venezuelan-born painist known for his work with Bobby Watson and Terence Blanchard. To an extent, this is the result of extreme competence..." Read more >>






Edward Simon Simplicitas
From: AllAboutJazz.com
Review by: John Kelman
Criss Cross Records

Some artists seem to burst onto the scene, even though the reality may be something else entirely. Ethan Iverson of the Bad Plus and Esbjorn Svensson of E.S.T. both worked below the radar for periods of time before they were, seemingly suddenly, "discovered." Such instant fame comes with a disadvantage, however. Being the flavour of the month also implies that, at some point, the public's tastes will move on.

Others gradually insinuate themselves into the public's consciousness, often through years of apprenticeship with others and a steady move towards a solo career. Case in point is pianist Edward Simon, who spent the early ‘90s working with artists including Greg Osby and, perhaps most notably, Bobby Watson's Horizons. Simon has also developed some long-standing musical partnerships that continue to this day, including those with alto saxophonist David Binney, with whom he recently released a duet recording, Fiestas de Agosto, and guitarist Adam Rogers, on whose three Criss Cross albums he's appeared, including the new Apparitions. The wealth of experience that Simon has gained has given him a broader scope that never forgets the folkloric roots of his Venezuelan upbringing, and it has kept him from being branded as just another Latin player.

On Simplicitas Simon continues to expand the piano trio tradition that he so vividly explored on ‘03's The Process. Mixing original material with compositions by Brazilian singer Luciana Souza—who also adds wordless vocals to the impressionistic, ECM-informed Simon piece, "Unknown Path"—and Irish saxophonist Michael Buckley—whose melancholic hymnal, "South Facing," is a highlight of the album, demonstrating Simon's undivided attention to the nuances of and between every note—Simon has created a set where the songs flow forward with a distinct sense of purpose.

While Simon reveals clear roots in all the usual suspects—Evans, Hancock, Jarrett—he has long since subsumed them within his own brand of lyricism. He has the kind of technical facility, the kind of left hand/right hand independence that can only come from years of woodshedding and on-the-bandstand experience. It's Simon's ability to make every note count and every phrase feel special—whether on the more overtly Latin-informed 6/8 vamp of "Fiestas" or the equally bright "Infinite One," which alternates between a bass-held pedal point and an invigorating swing supported by bassist Avishai Cohen and drummer Adam Cruz—that makes his work truly sing.

Two versions of the Harry Warren standard "You're My Everything," based on Herbie Hancock's reharmonized changes for the '62 Freddie Hubbard classic Hub-Tones, vividly demonstrate how imaginative improvisers can approach the same piece night after night, still making every performance feel familiar, yet fresh and new.

Simon may not have the name recognition or popularity of the Bad Plus or E.S.T., but he's every bit their contemporary equal. With a steadily-growing body of work that reaches further stylistically than either of these groups, Simon will undoubtedly prove to have greater longevity.

Edward Simon & David Binney Fiestas de Agosto
From: AllAboutJazz.com
Review by: John Kelman
Red Records

With the possible exception of solo performance, there is no more exposed format than the duet. But while solo playing allows for more complete freedom of interpretation, the duet demands, perhaps, a greater sense of responsibility, without the safety net afforded by larger groupings. In the duet format there is no room for error; risks are taken with the knowledge that there is little to hide behind, and the expectation that one's partner simply has to be there without fail at all times.

Still, the duet also provides a great opportunity for liberated interplay; with only one foil there is a chance for greater exploration, as long as the two players are intimately simpatico. Such is the case with pianist Edward Simon and woodwind multi-instrumentalist David Binney, who have been working together in a variety of contexts for over fifteen years. The result of their long-term association is the kind of attention to detail, and ability to intuit the subtlest turn of phrase, that makes their first album as a duo, Fiestas de Agosto, such a treat. It's more than just playing a phrase in unison, and it's more than catching onto an improvised motif; it's about being able to anticipate and lock into the smallest variation in parlance, as well as more overt rhythmic and melodic conceits.

Simon, a Venezuelan native who relocated to New York many years ago, is, like more recent newcomer Luis Perdomo, an artist who has been able to transcend his Latin and Afro-Cuban roots, while at the same time not ignoring them. His "Fiestas" begins with an almost Gismonti-like abstraction, opening with Binney's dissonant flutes, transforming into an abstruse theme over Simon's time-staggered chords before shifting into a more straightforward 3/4 time modal vamp.

While he hasn't yet achieved widespread acclaim, Binney is emerging as a truly important figure, not just for his bold alto playing, which always seems to be rooted in compositional thought, but also for his writing, which is instantly recognizable. While his works for larger ensembles feature heavy use of counterpoint and signature stylistic conceits like tenor and alto saxophones playing in unison, his compositions are no less distinctive when pared down. With Simon's advanced left/right hand independence and Binney's carefully chosen notes, they imply more than what is actually played.

It would be missing the point to define this collaboration in terms of one player accompanying the other. While there are clear solo demarcations and structures that place one instrument more out front, this is a true collaboration, more about a collective sound and a combined aesthetic. While there are no sharp edges here, there are a variety of emotions on display, from the pensive lyricism of "Ask the Dust" to the more joyous "True to Life (reprise)."

Contrasting the light with the dark, the introspective with the outgoing, Fiestas de Agosto is the result of two players working with a shared understanding and a clearly similar set of musical goals.

Edward Simon Trio The Process
From: Jazz Review
Review by: Tony Hall
Criss Cross Jazz 1229 CD

Musicians: Simon (p); John Patitucci (b); Eric Harland (d). Rec. 2002

I've admired Edward Simon's work for the past ten years. Venezuelan-born, he ended up in Philadelphia where Charles Fambrough introduced him to people like Greg Osby (who used him on some M-Base projects) and Bobby Watson, who made him Horizon's permanent pianist for five years. His debut as a leader was in '93 on Audioquest (Beauty Within, with Anthony Jackson and Horacio Hernandez), followed two years later by a fascinating CD for Herbie Mann's Kokopelli label, alongside then up-and-coming musicians including Mark Turner, Larry Granadier, Adam Cruz and Milton Cardona. This new set for Gerry Teekens' Criss Cross is far and away the most mature and compelling of his albums to date. In fact, it's one of the best piano-trio CDs you're likely to hear this year. His style combines his basic Afro-Cuban approach with elements of Evans and Jarret in particular (though the opening "Navigator" has a strong Bud Powell -like theme). But he's definitely his own man here, with the accent on some really varied material -including totally reworked covers of "Woody 'n' You and "I'm In the Mood for Love") and some exceptionally original compositions. In fact, you feel that he is composing constantly, in every solo. There are two completely different approaches to the title piece, "The Process" -the firs in basic 3/4 time, the second ("Reprocess") in 4/4. There are also two versions of his 16 bar blues, "Azules". Patitucci is a powerhouse on this album, his newly acquired confidence since working with Wayne Shorter is evident throughout, in the interplay as well as section and solo work. Harland's drums fits perfectly with the other two. An inspired and inspiring album, with superb sound by Max Bolleman.
David Binney/Edward Simon's Afinidad
Review by: John Kelman
AllAboutJazz.com

Musicians: David Binney (alto sax) Edward Simon (piano) Scott Colley (bass) Brian Blade (drums) Adam Cruz (percussion) Lucia Pulido (voice) Adam Rogers (guitar)

Since emerging in the mid-'90s with the cross-genre fusion group Lost Tribe, alto saxophonist David Binney has been carving the kind of musical niche that most artists dream of. Though he's a potent and innovative player, his compositional skills are even more important. His writing is so distinctive that one can identify a Binney composition—regardless of the context—within the first few bars. And between the experimental cooperative Lan Xang and his own gradually growing discography, Binney has been developing a reputation for complex form that still leaves ample room for improvisational exploration.

Edward Simon has similarly been emerging as one of his generation's most versatile and compelling pianists. Through associations with artists including Bobby Watson, Greg Osby, and Terence Blanchard, Simon has demonstrated a remarkable ability to fuse his personal roots in Latin music—he's a Venezuelan by birth—with a more contemporary jazz sensibility. And, over the past few years, he's developed a personal rapport with Binney that has resulted in some particularly special collaborations, including the recent duet recording for the Italian Red Records label, Fiestas de Agosto.

An earlier Red Records collaboration, Afinidad, finds Binney and Simon in a larger group context that includes bassist Scott Colley and drummer Brian Blade, along with guitarist Adam Rogers, percussionist Adam Cruz, and vocalist Lucia Pulido on select tracks. Perhaps more than any other recording they've done together, Afinidad explores Latin rhythms and textures, but filtered through Binney and Simon's own broader aesthetics they create a sound that, while possessing unassailable roots, goes in new directions as well: a more progressive Latin, if you will.

Sharing the writing duties, as well as including two miniatures by Argentinean composer Ginastera and a lengthy piece by Venezuelan icon Simon Diaz, Binney's contributions are filled with the rich counterpoint that has come to define his writing, along with memorable themes that seem to glide atop a more complex rhythmic backdrop. As intricate as his writing is, there's a certain folksiness that drummer Blade's own band, Fellowship, has also explored. Binney has a slightly rough edge to his tone at times, and the ability to build the intensity of a solo to an exhausting peak, as he does on his own "Red" and Diaz's "Mi Querencia."

Simon's writing reflects more overt Latin Roots; "Pere" is a high-energy 5/4 piece that takes the clave tradition to new places, while "Aguantando" starts with a classical guitar solo from Rogers that has precedence in Egberto Gismonti, but is more polished, less raw. A lengthy melody, sung by Pulido and doubled by Binney, demonstrates the pair's mutual kinship, both demonstrating a similar penchant for long-form thematic development. Like Binney, Simon takes his time developing his solos, with a warm approach that, while harmonically advanced, is never angular or diffuse.

Afinidad documents the growing affinity between Binney and Simon. It's remarkable how two artists from such diverse cultural backgrounds can find a true common ground through a modernistic approach to Latin music.
David Binney/Edward Simon's Afinidad
Review by: Robert Giles
Red Records 2000

Musicians: David Binney (alto sax) Edward Simon (piano) Scott Colley (bass) Brian Blade (drums) Adam Cruz (percussion) Lucia Pulido (voice) Adam Rogers (guitar)

It's David Binney's and Edward Simon's release Afinidad. Edward Simon is from Venezuela and as for David Binney, he was born in Florida and raised in Ventura, CA. Edward has worked with such Jazz legends as Bobby Hutcherson, Jerry Gonzalez and Paquito D'Rivera. David Binney is an artist that has it all together on the sax and was a surprise to many with his debut album Point Game off of Owl Records. Together, these guys sound like they have been creating music for years. We hope the Red Record Label does not stop at just this release but have many more collaborations to come from these two gentlemen.

Track one is entitled Red. I wonder if for the Red Record Label? This piece starts off in a very smooth traditional means with David Binney and Edward Simon giving it their all. Together with Brian Blade on drums, this is a jam that you can sit back and coast to. That is until we get into the abstractness of the cut. Then the group lets loose and it's full stream ahead. If you are into the avant-garde you will dig this.

Track two is called Civil War and puts Brian Blade out front with a military-march drumbeat following with David Binney close behind with a very smooth sound from his sax. Very cool and a great jam to listen to. Sounds like history in the making. As I listen to Civil War I can think about nothing but the mellow sound that this cut projects and what a pleasure it is to listen to. Perhaps others will think about all of our brothers and sisters that gave their life for our country when they listen to it. Check it out. What do you think?

Track three is called Pere and has a definite swing and easy feel to it. I would venture out to say that Edward Simon has a type of Herbie Hancock feel to the keyboard on this one. A bit abstract with a feel of smooth on top. David Binney can blow, man! Great listening especially if you are into the genre we call Jazz. That's capital J. Capital A. Capital Z. Capital Z. Put together they spell the greatest music in the world. Jazz.

For you Latin Jazz lovers track seven is a tonanda by Simón Diaz entitled Mi Querencia and has Binney blowing his sax with a smooth excellence to begin with, then the group cuts up with a very hip sounding Latin beat that is second to none. Edward Simon once again on the 88's is very well versed in the playing of Jazz with a Latin style to it. Bass-master Scott Colley helping from the background with a smooth strumming that sounds absolutely magnífico. We should call this Jazz for the heart.

Throughout this release Adam Cruz is doing a fabulous job on percussion, as is Adam Rogers on guitar.

Track ten is entitled Red Reprise and is a shorter version of track one, Red but with a faster beat. Or is it that I've listened to the rest of this album and got a feeling for the smooth sounds David Binney and Edward Simon can produce.

Track eleven is called Remembrance and utilizes Scott Colley and his bass in a feeling of sadness and loneliness. Together, Binney and Simon create the perfect sound-escape for sitting back and reflecting on sad times.

For David Binney and Edward Simon, Afinidad has been an excellent, excellent release and we hope to hear more from these two musical geniuses in the near future. Many thanks to the Red Record Label for making this pairing come true. We love you at JazzReview.com!!!
Edward Simon's La Bikina
Review by: John W. Patterson
www.allaboutjazz.com

Lovers of jazz piano, Latin-flavored music, and the tender elegance and power of Keith Jarrett's playing will find all this and more in Edward Simon's La Bikina. Simon hails from Venezuela and also brings some Cuban flavor along in his lively yet lilting style. Smell the salsa cooking, hear the exotic percussives, toe-tap that dance unique to Simon's sound. He flies all over the keyboard, pausing leaping, running, skipping, hop-scotching -- his soul laughing on "El Manicero (The Peanut vendor) Part 1". Ah, metal drums, drift in and out to herald David Binney on alto sax. You ain't alive if this doesn't move you. Somewhere, a lady's feet are smiling and her hips dancing.

Title track, "La Bikina" is a 14:30 reworked Venezuelan folk song with Simon and Binney pulling together a feel that recalls Lost Tribe or solo Binney releases. I also hear that gentle sway of ECM's Gallery here. This is quality through and through. A romance of keys. Adam Cruz on drums and Ben Street on bass are marvelous. Simon is pure magic on piano. Binney as always is flawless, fluid, and finds his signature release soloing.

So much is so very good in each song. I can only say this is a delight to experience. "Ericka", by Simon's brother, Marlon, shows Edward playing very Jarrett. Simon outros with "El Manicero Part 2" ablaze with more incredible keyboard flourishes that segue into a march-like drivin', rhythmic progression, that is my favorite groove on the disk right behind "El Manicero Part 1". Binney and the rest of the crew each lift the moment higher and higher. Simon has accomplished a strong offering of quality jazz -- and a taste of other lands. Recommended.

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