Two saxophonists out front on this quintet outing: Rob Davis (tenor and soprano) and Mark Taylor (alto, tenor and soprano). The two reedmen share similar sounds and sensibilitiesókeening tones on the higher register horns, low grit on the vibrato scale, and they make great use of subtle timbral differences (right and left stereo separation is a big plus here) in the harmonies as they meld into a good deal of unison blowing througout, to go along with their solos and interplay.
Another spin and I was listening to the rhythm section. All three playersódrummer Korn, pianist Marc Seales, and bassist Paul Gabrielsonódisplay what I'd call an orchestral approach on their respective intruments. The leader's chops and textures lean to the subtle side of timekeeping, but repeated listens reveal layers and subtextures and side eddies swirling around the mainstream flow.
Bassist Paul Gabrielson projects a big sound that paints haunting washesódark grey in coloróon the low end of the rhythm, not with fat individual notes, but with a vibrant and encompassing deep gravity sound. Pianist Marc Seales I picked up on last. His touch is light yet orchestralóthere's that word againóand lush and full. I'd mention a similarity to McCoy Tyner if he were a tad more percussive.
The compositionsóseven out of the ten are Korn'sóit together almost like a suite, starting with "Hymn," a fittingly reverent beginning of cooly harmonizing saxophones; rolling through Ron Carter's somber "O.K."; and on into the delicate harmonies of Korn's "Little Bird."
Points in Time is almost a suite until you get to the closer, "Theme Song from the Sit-Com of the Same Name," that sounds like a late sixties Motown session band kicking out the jams, a surpisingly gregarious close to a mostly introspectiveóand beautifully soóset.