Brubeck can still lay it down

The most recent Dave Brubeck release conjures up images of this cool school elder statesman flying across the keyboard with all intensity and spirit of someone half his age. This most recent collection of nine originals is a perfect example of how wonderful musicians/composers will always have something to say musically and can convey their personality without relying on gimmicks. \nThe Crossing sees the Brubeck as a clearly evolved pianist with a well-developed, personalized style and an appreciation for both the past and future of jazz.\nBrubeck claims he named the album The Crossing because he sees the incorporation of other musical styles, or crossover, as integral in the development of jazz. Some of the highlights of the album contain passages or feels that clearly borrow from other musical sources, especially Carribbean and Spanish music. But best of all, it's clear that Brubeck's compositional focus was on playing on his ensembles strengths and using their touches while maintaining his trademark sound. Each member of the band is featured in at least one lengthy solo, although Brubeck and alto sax player Bobby Militello spend more time in the spotlight. Brubeck's compositions give each player's role just the right amount of attention. \nIn expected fashion, Brubeck includes one track in five-fourths time. He says in the notes that his drummer, Randy Jones, loves to play in that time. And Brubeck himself can still lay it down. "Mariel" has an unexpected tempo shift near the beginning that nicely sets up the Militello's fiery sax solo and Brubeck's rolling piano solo. Bassist Alec Dankworth also takes a few melodic, free sounding solos and Jones has his share of powerful fills and a powerful solo on the track named after him.\nWith The Crossing, The Dave Brubeck Quartet successfully blends modern timbres with traditional forms and what is best described as simply that classic Dave Brubeck sound. The sound is huge for just a quartet, but allows enough room for each player to get the most out of his part. Although this album could never have the impact of Take Five -- it's just not as adventurous rhythmically, plus it set the bar pretty high to begin with -- it's a must own for a Brubeck or cool jazz fan in general.