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Originally this CD was released in 1994 under the title "In The Moment". Due to unforseen circumstances it was never properly made available to the public. In 1992 this was one of Romus' first major CD productions and my third jazz album. "Working with Chico Freeman was a childhood dream. Early in my years of musical discovery Chico was one of two major influences on my development (Arthur Blythe being the other). With the support of the now defunct Oakland based Jazz In Flight, private donors, and credit cards, this project of original music was made a reality. It also reflects a style of the jazz idiom that Chico himself had a strong hand in forging twenty years before this was recorded. With his inspiration and guidence we were able to bring this style to the sound stage during four concerts in Oakland, San Francisco and Santa Cruz California in October 1992." -Rent Romus
Chico Freeman - ten/sop saxophones
Rent Romus - alto/sop/bari saxophones, flute
Jason Olaine - trumpet
Stefano DeZerega - piano, alto saxophone
Ben Leinbach - drums
Ravi Abcarian - bass
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"Scorching sax player Rent Romus finally realized his dream to work with tenor/soprano sax legend Chico Freeman on this one, and the two trade plenty of ferocious lines and touching melodies throughout this adventurous CD. The results are often times intoxicating as well as challenging, as the band channels the best of both 50's bebob and the avant-garde of the 60's." - Pete Pardo, Sea of Tranquility
"The interplay between Romus and Chico Freeman (one of his idols) is impressive. They may not have played together for long, but this disc shows how in tune they were with each other."
- J. Worley, Aiding & Abetting
"You could call this session "retro," but it's well-done retro, with most of the pieces making for nicely thoughtful excursions."
- Wedge, KZSU FM90.1
"Given the emphasis on the highly experimental at Edgetone Records, this CD surprised me. Excellent, recommended!"
-Cousin Mary, KFJC FM 89.7
"The music pulsates confidently, leavened by a tough lyricism and perforated unexpectedly with compelling trapdoor excursions into free-form." -Larry Consentino, Signal to Noise Vol 53 pg 77
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