Liz Gorrill, Piano; Andy Fite, guitar

Tracklist: 1. Laughing & Swingin’ 2. I’d Give My Soul 3. Another Universe 4. Harmonic Conundrum 5. Rainbow Camouflage 6. Eight Haiku 7. A Dream Of April 8. Blues for the Child 9. Cosmic Comedy

Recording Date: September 24, 1990 in concert at Greenwich House, NYC

“…It’s a colossal CD…seriousness and humor, improvisation and quotes in an alloy of rare density and brilliance…Duo of world class, all categories!” – Bjarne Moelv, Folket, Eskilstuna, Sweden

“…nine improvised duets full of rare grace and emotional nuance…Fite’s lithe style serves as a foil of Gorrill’s strong, percussive piano…Each track has it’s virtues. Highly recommended.” – David Dupont, Cadence

“…inventive interplay for the sake of new directions…”- Lois Moody, Jazz News

If this set was a horror flick it would be called

“The Return of Intuition and Digression” in reference to the free-form tracks—the first ever free-form tracks—laid own by the Lennie Tristano sextet in May, 1949.

This return, though, is welcomed. Gorrill and Fite take the ideas implied in those two pioneering tracks and expand upon them in nine improvised duets full of rare grace and emotional nuance. Fite plays guitar with strong Charlie Christian overtones.Despite the contemporary setting the spirit of the great swing string master is evident throughout, and especially when Fite brings it to the fore on “Another Universe,” where he quotes “Seven Come Eleven.” He fills his single-note lines with blues and swing references. Fite’s lithe style serves as a foil for Gorrill’s strong, percussive piano. At times, as on “Another Universe,” she builds her solos like a drummer. Thick, hammered figures repeated a few times before a contrasting figure is introduced. At other times, as on “Rainbow Camouflage,” she backs long, serpentine right-hand lines with the strong single note walking bass so typical of the Tristano school. The latter is straightahead free-form swing. On “Blues For The Child,” the duo fashions a dark, dirge-like piece. “A Dream Of April” is a ballad of a different kind, full of lacy upper register piano fingers with a floating sense of time. “Eight Haiku” consists of snippets as evocative of Webern’s “Six Bagatelles” as anything in jazz. Each track has its virtues. Highly recommended. — David Dupont, Cadence, May 1992

CD version (incl. shipment cost world-wide)