"Bill Lancton: Vintage Melange " Jazz Improv - March 24, 2004 by Gregory J. Robb "Five top-notch musicians together in one room, live, with no overdubs and no fixes." Bill Lancton's Vintage Melange stunningly portrays how great musicians satisfy the demands of the music. not the demands of its listeners or players. If timing is imperative to performance art, this record defines the success of that ethic. Ensemble, improvisation, chorus, breaks, transitions, accents, dissipation, crescendo - all form themselves in perfectly fitting proportion throughout the album. The constituents of playing are delivered so suavely that we hardly notice them. They are eminently comfortable and so is the record. Bill Lancton's band collectively supports itself. "House of the Rising Sun" springs to life from the solitude of frontporch composition to the diverse and cooking scope of group dynamic. Wonderful simplicity: open the idea. explode within its more expansive framework and put it away in its initial package - all within five minutes. This band knows time. Bill Lancton is one of the few guitarists in to leave New York for music worlds more fertile. In Bill's case, that turned out to be Indianapolis. Midwest values pervade this musical treat, too. On "End of A Love Affair," Lancton's introspective interpretation spawns a dramatic piano improvisation from Jeff DeHerdt. We are left with a gorgeous dissipation of complexity: the confused spirit finding truth in the turmoil. The apparent simplicity of this music belies great fundamental knowledge and expertise in the parts of its players. Fundamentals emerge as the record progresses. Although Solos are tightly timed, "Soul Cowboy" features a whirlwind of explorations on guitar, piano and bass. Wes Montgomery's "Naptown Blues" features the driving drum-bass tandem of David Murray and Kenny Phelps in our first opportunity to appreciate solos enclosed by a hard two-four hi-hat. Improvisations are direct and to the point of a greater holistic accomplishment. Timing is also important to "Body and Soul." Bill Lancton's work envelopes the listener in the quieter. Latin-grooved mood. In just over two minutes, Jeff DeHerdt's chords paint the melody lines like a vivid, endlessly appealing watercolour. The comfort zone of the group expands with each transition. On Joni Mitchell's "Woodstock," David Murray and Kenny Phelps combine for the first solo that is rigidly marked by rhythm. The length of the song also feels less constrained and, therefore, enhances the timelessness that grooves produce When they are So swell done. The integrity of Donovan's "Sunshine Superman" provides this group with a structural opportunity to elongate this composition. Running guitar and note repetitions salt and pepper us for a spectacularly light feel. This is the simplest thing that Kenny Phelps plays on the whole record. Lancton's singular repetition of the melody line pays respect to the original before taking off into more writing for discovery. As it is, this song is the first to be faded (in just under six minutes). Extension would surely characterize a live version. Our heads bob long after the music is over. Bill Lancton scores a hit with Vintage Melange. If is does not change your life. it will surely change your mood.