While listening to Future Day, the David Finck Quartet's debut album newly out on the Soundbrush label, I found myself returning again and again to one thought. It's so doggone good that the only mystery is — why did the talented bassist wait so long?
Over the past three decades, Finck has worked with some of the biggest names around, including jazz legends Herbie Hancock and Andre Previn, and he's also become a top choice as an accompanist for countless entertainers, ranging from Natalie Cole to Sinead O'Conner. In the process he has become one of the most respected musicians around, and was long overdue to take the next step.
But I guess there's something to be said for taking your time and making sure that your proverbial ducks are in 
a row. And to stretch that metaphor beyond all good sense, some of Finck's ducks - the other members of his quartet - are no quacks either when it comes to talent. (Groan — I warned you.)
Drummer Joe La Barbera has a résumé that includes service in Bill Evans' last trio, while vibraphonist Joe Locke is a talented veteran who has led his own groups. Pianist Tom Ranier is a multi-talented musical wizard who can play several instruments, in addition to being a fine composer and arranger.
Also showing up on a couple of tracks are guest artists Bob Sheppard on tenor sax and Jeremy Pelt on trumpet, and both possess impressive backgrounds too. With this much talent on board, combining with a thoughtful and varied selection of pieces, it's not surprising that this is the most polished debut album I've heard in a long time.
The twelve tracks are equally divided between new pieces written by members of the quartet and solid established standards, but the standards have been given arrangements that help provide a cohesive theme for the entire album. It starts with Finck's solid, warm and rich tone and technique, which forms the base for every piece.
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