It's not just the fact that so many jazz giants have recorded seminal records at this spot. Vanguard audiences are a discerning type and understand the music well enough to not interrupt musicians with ill-timed applause and other noises during the softer passages; this makes for better quality recordings, and The Remedy is no exception, here.
The other factor that comes into play before the proverbial needle hits the wax is that major label (Verve) artist Rosenwinkel chose to release this set on artistShare, a fan-funded artist project that represents a different model for getting music to the public without the need for the excessive overhead that comes with distributing music the conventional method. Rosenwinkel could have gone the major label route if he wanted to, but he seems to be saying, "this record is for the fans."
The Remedy, which documents a gig from January 2006, contains only eight tunes, but spread out over 2 CDs and no song runs less than 11:37. All but two of them are new Rosenwinkel compositions. So, what you get on this album are some extended improvisions over some unfamiliar songs, making it a showcase for Rosenwinkel's touring group as well as his composing skills.
The opening "Chords" is a bouncing, highly melodic number with a beastly head that features some fantastic tight cohesion between Martin and Harland. Rosenwinkel absolutely sizzles on his solo, chasing down every euphonious possibility the chord progression gives him. Turner and Goldberg follow suit while Harland is wrecking his drum kit. It doesn't get quite as good the rest of the way as it does for "Chords," but there are many more highlights, nonetheless.
"The Remedy" possesses a very pleasing, lilting melody, and Turner really brings out that attribute with his highly expressive playing. "Flute" supplies an even better showcase for Turner's sax skills, who is sounding a lot like Joe Lovano on this cut.
"A Life Unfolds" is a softer number taken from Rosenwinkel' s second major label album The Next Step (2001).. Kurt begins the piece solo, playing gently plucked harmonically complex chords before the rest of the group enters inconspicuously almost five minutes in and the sweetly melancholy melody is introduced. Turner again puts in a fine, lyrical solo, but it's Goldberg who stands out more with some thoughtful ruminations seemingly mindful of the ghost of Evans lurking around.
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