1 	Sophisticated Yenta 	5:51
2 	King Of France 	5:20
3 	Spirit Within 	7:42
4 	Island Song 	6:05
5 	Monday's Dance 	5:45
6 	Crescent City 	6:35

Alto Flute, Shaker – Ira Sullivan (tracks: A1)
Bass – Jay Anderson
Drums – Steve Bagby
Flugelhorn – Ira Sullivan (tracks: A1, A2, B2, B3), Red Rodney (tracks: A1, A2, B1 to B3)
Percussion – Steve Bagby (tracks: B1)
Piano – Garry Dial
Soprano Saxophone – Ira Sullivan (tracks: A3, B1)
Trumpet – Red Rodney (tracks: A3)

By the time of their fifth record, the Red Rodney-Ira Sullivan Quintet also included pianist Garry Dial, bassist Jay Anderson and drummer Steve Bagby, and it was a perfect vehicle for the co-leaders. Rodney (heard here mostly on flugelhorn) was challenged by the advanced material (four of the six numbers on this out-of-print LP are Dial originals), and underground legend Sullivan received more exposure than he had ever had in his career. On this LP, Sullivan (heard on soprano, alto flute and flugelhorn) inspired Rodney to some of his finest playing. Superior post-bop music that deserves to be reissued on CD. ---Scott Yanow, AllMusic Review

One of the best working quintets of the early 1980's. Great tunes, arrangements and solos. Rodney and Sullivan were at their most advanced (post-bop). All of this group's work is worth having and this features five group originals- four by pianist Gary Dial. ---Barry Rosenberg, amazon.com

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01. Woody 'n' You
02. Marmaduke
03. Little Suede Shoes
04. Un Poco Loco
05. The Scene Is Clean
06. Early Autumn
07. Confirmation
08. Congo Blues
09. If You Could See Me Now
10. Yard's Pad
11. Crazeology
12. The Interview

Red Rodney (flugelhorn)
Chris Potter (alto & tenor saxophones)
Garry Dial (piano)
Jay Anderson (bass)
Jimmy Madison (drums)

Recorded at BMG Studio B, New York on May 13 & 14, 1992.

Red Rodney's final recording (cut two years before his death) finds the 64-year-old sticking exclusively to flugelhorn and still displaying strong chops. Performing with his working quintet (Chris Potter on tenor and alto, pianist Garry Dial, bassist Jay Anderson and drummer Jimmy Madison) Rodney returns to his roots, performing 11 bop-era standards with a twist. Producer Bob Belden helped reharmonize many of the songs, and even though the original melodies are stated, the results sound more modern than one would expect. Potter (showing a great deal of potential that he has since realized) and Dial have many fine solos, while Rodney sounds pretty strong, pushing himself. The CD concludes with Rodney talking for 9½ minutes about his experiences in the bebop days and about this project, a perfect conclusion to a successful and important career. --- Scott Yanow, allmusic.com

Red Rodney was a dynamic and creative player, displaying inventiveness and thorough mastery of his instrument in all bop and post-bop settings. Primarily known as Charlie Parker’s trumpet player, Red Rodney went on to become a legend himself and made several dramatic comebacks during his career to solidify his reputation as a bebop trumpeter and keeper of the flame.

Rodney was a highly experienced big band trumpeter but was already experimenting with bebop. In 1949, with his reputation as a rising bop star fast gaining ground, he joined the Charlie Parker quintet (via an introduction from Dizzy Gillespie). For the next two years he was acclaimed as one of the best bebop trumpeters around and was certainly among the first white players to gain credibility and acceptance in the field.

In the later years, Rodney took up the flugelhorn to great effect. Playing better than ever before, he was in demand all over the world for clubs, concert halls and festivals and in his final years some of the best musicians of the younger generation, notably the remarkable saxophonist Chris Potter, queued up to join his band. In 1990, Rodney was inducted into the Down Beat Hall of Fame. Three years later Rodney released the album Then And Now, a compilation of originals and modernized jazz standards. In 1992, Rodney traveled to England to perform with drummer Charlie Watts of The Rolling Stones. The subsequent year, Red made several prominent appearances, appearing at the Charlie Parker Jazz Festival, Lincoln Center, and at the White House where he performed for president Bill Clinton.

“I don’t play like I played back in the early days with Bird. I play like today and that’s what these young musicians help bring to me. I give them roots and traditions from fifty years of playing this music. They weren’t around when this music was born, but they had quite a bit of experience playing it because any Jazz musician has to go through the Bebop era.”. (Red Rodney) ---redrodney.jazzgiants.net

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A1 	Night And Day 	
A2 	You Leave Me Breathless 	
A3 	Babies 	
B1 	Muck And Meyer 	
B2 	Frito Mistos 	
B3 	Dial-A-Brew

Alto Saxophone – Ira Sullivan (tracks: A1, B1)
Bass – Barry Smith
Drums – Steve Bagby
Flugelhorn – Red Rodney (tracks: A2 to B2)
Piano – Garry Dial
Soprano Saxophone – Ira Sullivan (tracks: A2)
Trumpet – Ira Sullivan, Red Rodney (tracks: A1, B3)

The Red Rodney-Ira Sullivan Quintet was one of the finest groups of the early 1980s. Rodney had an opportunity to play fresh material; Sullivan gained more exposure than he ever had in his career; and pianist Garry Dial was given high-profile and challenging writing assignments; bassist Barry Smith and drummer Steve Bagby completed the band in mid-1981. On this Muse LP (their fourth of six recordings), the musicians perform fresh versions of two standards ("Night and Day" and "You Leave Me Breathless"), plus four challenging originals. Sullivan plays trumpet on three of the six pieces, alto on two, and soprano on one. The exciting "Dial-A-Brew" is a highlight of this recommended (but sadly out of print) set. ---Scott Yanow, AllMusic Review

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