This supergroup of heavy weight jazz talent was originally convened to celebrate the fiftieth anniversary of the Monterey Jazz Festival but has subsequently become an intermittently working unit (as the Overtone Quartet with pianist Jason Moran sometimes replacing Rubalcaba).

Apart from a couple of brief rehearsals the music documented here was the first time this all star quartet had played together. Centred around bassist Dave Holland who handles the announcements the group also comprises of tenor saxophonist Chris Potter, a frequent collaborator in Holland’s regular working groups, in demand drummer Eric Harland and Cuban pianist Gonzalo Rubalcaba. The pairing of Rubalcaba and Holland had been mooted some ten years back but visa problems and other commitments had prevented this until now. 

As can be imagined from four such illustrious musicians there is some fine playing on this disc and sufficient chemistry between the players to lift the music above the level of the “all star jam”.

The material comprises of compositions sourced entirely from within the group and although there are one or two obvious “set pieces"most of the playing is impressively organic at this early stage in the group’s career.

Harland’s “Treachery”  opens the set, a sturdy piece of post bop that frames feverish solos from the restlessly inventive Rubalcaba and the powerful Potter. The saxophonist has a huge tone and in many ways is the natural successor to the late, lamented Michael Brecker. Behind the soloists Harland is frequently explosive and Holland solid yet somehow fluid.

Potter’s “Minotaur”  opens with a solo drum passage from the impressive Harland and although Holland’s bass is the backbone of the piece it’s essentially a feature for the saxophonist who demonstrates his abilities right across his instrument’s range.

Rubalcaba takes the spotlight for his own “Otra Mirada” a beautiful tune in the form of a bolero. The piece adds a welcome touch of lyricism to the set after the hurly burly of the two opening numbers.

Appropriately it is Holland’s bass that opens his own “Step To It” and he also gets to solo fluently on this slow burning tune, a typically clever yet accessible piece of Holland writing. We get to hear from Potter again too but arguably the highlight is Harland’s stunning drum feature above Rubalacaba’s densely rhythmic piano.

Harland’s “Maiden”  also opens with just Holland’s bass, gently probing and making use of the space between the notes. Potter shows the sensitive side of his playing as he states the theme of this melancholy ballad, he gets to solo more forcefully later. Rubalcaba is delicately lyrical and the levels of empathy between the quartet members are commendably high for what was meant to be a one off aggregation.

Rubalacaba’s tune written to celebrate the anniversary of the festival and simply entitled “50” is suitably celebratory. A joyous, funky groove persists throughout and everybody sounds as if they’re having a ball. The pianist takes the instrumental honours himself with an exuberant solo with Potter also featuring strongly.

Holland’s stunning, virtuosic solo bass introduces his own “Veil Of Tears” but the piece itself reflects the sombre nature of it’s title. Potter is more concerned with mood than technique and turns in some of his most affecting playing ,dovetailing nicely with Rubalcaba.

Following Holland’s acknowledgement of the band members the quartet bow out with Potter’s “Ask Me Why” a suitably climactic closer that features rousing solos from Potter and Rubalcaba and a another drum workout from Harland who is immense throughout.

This Monterey Quartet album is a cut above the usual all star jam session with a well balanced programme. The three thoughtful ballads provide a welcome contrast to the more full on stuff elsewhere but even then the soloing, although virtuosic, is hardly vacuous grandstanding. The Monterey audience clearly loved it and as an album the stands up well for the home listener also.

Impressive stuff from four acknowledged giants of the music.

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