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Review - Getting Away With Murder

Two musicians recorded down New York's subway -- and, surprise, surprise, they're playing excellent jazz. Tom Bruno uses brushes on his busker's pared-down kit: a glorious, intricate waterfall of beats. Tenorist Mateen leaps in like a salmon, flashy and wise. A 45 minute improvisation requires pace and intellect; Mateen's meditative, Lowe-like intimacy is just what is required. When the sax lays out for nine minutes, Bruno's fluid ebullience comes to the fore. Mateen's concluding flourish lets in some subway ambience -- train-door slams and commuter chatter -- and the results are haunting. DAT recorder and hand-held mic provide better sounds than many routine studio dates. Byron Coley's sleevenote is, as usual, a gas.

Ben Watson, Hi-fi News & Record Review

A duet of shifting momentums, interplay, fresh feeling. Mateen coils up in repeat figures, releases into legato culminations. Bruno taps and shimmers crisp rhythm platforms, turning points. Train announcements, walk-up chatter included. Hey, they're on to something. Stop a while; there'll be a later train...

Coda

Two guys, a tenor sax, one-third of a drum set, a pair of brushes, and the occasional sound of a train being announced.... The album is admirable. Both exhilarating and thoughtful.

Walter Horn, Cadence

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