1 	Lamento Della Ninfa 	6:04
2 	Reflections On Piagn'e Sospira 	5:55
3 	Reflections On Toccata 	8:28
4 	Passacaglia 	6:44
5 	Ritornello 	7:02
6 	Si Dolce È L'Tormento 	5:37
7 	Balletto Secondo - Retirata 	5:22
8 	Reflections On Vespro Della Beata Vergine 	4:43
9 	Ritornello 	2:19
10 	Il Ritorno D'Ulisse In Patria - Atto Quattro, Scene II 	6:05

Bass – Thomas Morgan 
Drums – Paul Motian
Piano – Russ Lossing
Trombone – Samuel Blaser

There have been numerous interpretations of classical music by jazz musicians, but trombonist Samuel Blaser opted to explore less common ground by arranging music by Renaissance and Baroque composers, assisted by drummer Paul Motian, pianist Russ Lossing, and bassist Thomas Moran. Most of his focus is on the works of Claudio Monteverdi, starting with a loping, shimmering setting of Lamento della Nifa that features Motian providing a constant background for the leader's poignant trombone, with Lossing and Moran darting in and out of the picture at times. Riotornello is a free-spirited, loose interpretation, while Blaser utilizes the vocal/trombone technique popularized by Tricky Sam Nanton in Duke Ellington's band in Si Dolce e I'Tormento in a powerful duet with Motian, though his sound is closer to what a modernist like Steve Turre uses. Il Ritorno d'Ulisse in Patria -Atto Quatro, Scene II is transformed into a tense, somewhat abstract arrangement that could easily be used as a film soundtrack. Also valuable are his unique perspectives in approaching the music of Biago Marini and Girolamo Frescobaldi. This provocative CD should entice other jazz musicians to look for hidden gems in the vast world of classical music. ---Ken Dryden, AllMusic Review

Here, trombonist Samuel Blaser realizes his inspired notion of blending Italian Renaissance and baroque music-madrigals, string quartets, toccatas, Gregorian melodies-with jazz improvisation. He was also wise enough to hire Paul Motian to underscore the proceedings with his signature rubato touch on the kit, which instantly brings a hip sensibility to these ancient melodies. Bassist Thomas Morgan and piano Russ Lossing round out the ensemble on this intriguing, unconventional outing. ---Bill Milkowski, jazztimes.com

W 2011 młody i szalenie zdolny puzonista i kompozytor zaprezentował międzynarodowej publiczności nowy zespół, w którym zajął się muzyką epok wcześniejszych, a raczej tym jak muzyka renesansu może być w praktyce nowoczesnej improwizacji inspirująca. Wkrótce na rynek płytowy trafiła płyta pod takim samym tytułem jak nazwa bandu. W składzie oprócz młodych równie utalentowanych jak Samuel Blaser muzyków był także Paul Motian - legenda światowego jazzu i jeden z najważniejszych perkusistów w historii gatunku.

Dzisiaj Paula Motiana już wśród nas nie ma, ale Consort In Motion przetrwał zapraszając do swojego składu inną legendę, znanego z niezliczonej ilości własnych projektów, ale także z udziału w drugim wielkim kwartecie Anthony'ego Braxtona, innego mistrza perkusji Gerry'ego Hemingwaya. I oto mamy dowód niezbity na znakomitość tej formacji. Wczoraj na rynku płytowym ukazała się druga płyta zespołu "A Mirror To Machaut" zadedykowana i poświęcona muzyce jednego z największych francuskich kompozytorów i poetów średniowiecza Guillaumowi Machaut. ---jazzarium.pl

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1. Early in the Mornin'
2. Creepy Crawler
3. Tom Sherman's Barroom
4. Murderer's Home
5. The House Carpenter
6. Levee Camp Moan Blues
7. Klaxon
8. Mal's Blues
9. Black Betty
10. Lonesome Road Blues 

Double Bass – Masa Kamaguchi
Drums, Harmonica – Gerry Hemingway
Piano, Keyboards, Clavinet, Synthesizer, Organ [Hammond B3] – Russ Lossing
Trombone, Arranged By – Samuel Blaser 

The first sound you hear on trombonist Samuel Blaser's witchy 2018 album, Early in the Mornin', is veteran saxophonist Oliver Lake seemingly invoking the rising sun with a guttural rubato solo. This is no dewy AM yoga stretch, but a muscle-stiff groan to the universe. It sets the tone for what is to come on an album that finds the Swiss-born Blaser balancing his love of rustic blues traditions with more heady, spectral delights. Here, the trombonist plays both his own evocative original compositions and deftly reimagined traditional pieces, including work songs, blues standards, and songs from the British folk heritage. He even brings the concept full circle, literally evoking the rounded, throaty vocals of Lead Belly with his trombone on "Black Betty." Along with Lake, who plays on two tracks, Blaser generously shares the spotlight throughout with his longtime bandmates pianist Russ Lossing, bassist Masa Kamaguchi, and drummer Gerry Hemingway. Also supplying his own brand of kinetic, serpentine magic on two tracks is guest trumpeter Wallace Roney. Many of the cuts here showcase Blaser's robust tone and wide-swinging improvisations framed by the burnt sparkle of Lossing's keyboard and the organic tumult of Kamaguchi and Hemingway's interlocking rhythms. It's an atmospheric blend that brings to mind the legendary '70s Detroit Tribe Records albums of trombonist Phil Ranelin. The sound is especially redolent on cuts like the fractured, organ-rich ballad "Tom Sherman's Barroom," the funky atonalist swamp boogie of "Creepy Crawler," and the deep space modalism of "Mal's Blues." Elsewhere, Roney brings a similarly '70s-esque dark energy, communing with Blaser and Lake on the rhythmically mutative, gospel menace of "Levee Camp Moan Blues," and then shifting from spare dusky tones to fiery group squalls on "The House Carpenter." These tracks all smolder with a lively, almost ancestral energy, conjuring a strange and unpredictable celebration of blues and other rural folk traditions. ---Matt Collar, AllMusic Review

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