"Hiding In Plain Sight", the first of four septet tunes, reflects the feeling of many trombonists in a business dominated by saxophonists and trumpeters. Just to prove we also have a sense of humor about it, the tune is based on the harmonic structure of "I'll Be Seeing You." Pay close attention to the sendoff for Jim's piano solo!

"Little Big Horn" is from the Nat Adderley album of the same name from 1963 (Riverside RS-9474, reissued as OJCCD-1001-2). I owe Nat a tremendous debt of gratitude for introducing me to the New York jazz scene as a part of his group, and this is dedicated to his memory and to his wonderful family.

"Another Place, Another Time" is part melancholy, part optimistic (starting in D minor and shifting to D major). I've always loved the sound of flute with bucket-muted trombone and I especially love having Frank's gorgeous flute sound to blend with!

"Inner Peace" was inspired several years ago, during a trip Aspen, Colorado. Anyone who has been there can tell about the breathtaking beauty of the surroundings. Frank's flute is featured throughout, with a brief bass interlude from Dennis.

"Analogy" is based on one of Toshiko Akiyoshi's compositions, "My Elegy." I always liked these chord changes and thought it would be fun to write a tune on them, so here's my take!     

"Ginseng" divides the four horns into two parts at first, with John and Dave taking the lead. Frank and I enter in a supporting role, then we all join forces.

That great Frank Wess sense of humor comes to the forefront with his beautiful, haunting ballad, titled "If You Can't Call, Don't Come." I do this alone with the rhythm section, because a couple of years ago, "Magic" asked me to do it this way on a Jazzmobile concert. The concert was rained out, so here's the long-awaited performance!

My second home for a few years now seems to be the lead trombone chair at New York's Birdland. From this chair, I have a bird's-eye view of anyone sitting at "Table Eleven." This is based on "The Song Is You" and features the septet in full force.

The music world suffered yet another devastating loss this February with the passing of the great J.J. Johnson. His recording of "Coffee Pot " (on "The Eminent J.J. Johnson, Vol. 1, Blue NoteBLP 1505, reissued as CDP7 81506 2) is something I always play for my students at Rutgers, because I consider it to be the quintessential bebop trombone recording. This is, of course, dedicated to J.J. (Note to self: Never ask someone with the word "maniac" in his name to set the tempo!)