Recorded: Feb. 24, 1999 - NYC, except #1 & #4, Dec. 7, 1998.

Tracks:
1- The Price to Pay (Schwarz-Bart) - 10:58
2- Slow Down Baby (Schwarz-Bart) - 07:04
3- A Kick in the Bone (Schwarz-Bart) - 06:32
4- Lament (Johnson) - 05:00
5- Invitation (Kaper/Webster) - 07:43
6- Impressions (Coltrane) - 08:09
7- Blue in Green (Davis) - 06:10
8- The Price I Thought I'd Pay (Schwarz-Bart) - 09:14
Jacques Schwarz-Bart displays a muscular tenor sax style, solidly within the post-Coltrane idiom of players such as Charles Lloyd and David Liebman. Much heat and light is also generated by pianist James Hurt. Bassist Johannes Wiedenmuller and drummer Ari Hoenig are the core rhythm section players, although they're replaced by Masa Kamaguchi and Jimmy Weinstein, respectively, on "The Price to Pay" and "Lament." Both of these moody trio numbers were recorded in Weinstein's living room, and as a result have an especially loose, live feel -- the sort that Sonny Rollins once conjured at the Village Vanguard in the late '50s. A third bassist, Francois Moutin, comes on board for an intimate duo treatment of "Blue in Green." Unusual Latin reinventions of "Invitation" (in 6/4) and Coltrane's "Impressions" (in 10/8) illustrate Schwarz-Bart's acute interpretive ability. The tenorman's original compositions are rewarding, if a bit derivative of a very specific post-Coltrane sound. With time, Schwarz-Bart, aided by superb players such as these, will likely grow into a more original voice.

David R. Adler, All Music Guide

Tracks:
1 Feel So Free - 04:04
2 Rise Above - 05:26
3 Forget/Regret - 03:52
4 Mind Soother - 04:24
5 Tryin' Times - 04:33
6 This One - 03:41
7 Rainbow - 06:08
8 Busted - 04:01
9 I Don't Know - 07:31
10 Abyss - 06:06
11 That Girl Steph - 06:19
12 Home - 05:46

Words and music by Brother Jacques, except Home (Meshell N'degeocello & Brother Jacques) and Tryin' Times (Stephanie McKay & Brother Jacques)


From the liner Notes by Kim Smith

[...] Like a bird, Brother Jacques takes a simple melody and makes it sing. Sensuously, the grooves and hard-line edges coming out of hip-hop and funk lay down the back beat, making our hands sway, heads bop and feet stomp. Isn't that what music is supposed to do? The lyric is universally touching and simply weaves it's way right into the melodics. Simple and to the point: songs like Forget/Regret, Tryin' Times, Rainbow, I Don't Know, break it down exactly as it's supposed to be broken down. The freedom within songs like "Abyss"and "Mind Soother". So aptly titled, the very image of a "mind soother" is precisely the sound of the track. Jacques is able to reach these heights due to his diligence to the wind instruments - in particular, the father of them all: the tenor saxophone. Without the practiced art of improvisation and cultivation, these sounds are simply impossible to achieve. He's climbing the mountain every time.

In conversation with you, Jacques is always birthing some new philosophy or presenting different perspectives of looking at our world and what is in it. This man always takes his time, thinks about what he has to say - and his music is the same. He doesn't fill moments with unnecessary words, usually gets right to the point and the one thing you can always count on is that he will deliver. Hence, the music.

The Brother Jacques Project is always growing because it is open. It's always moving because it is ever-changing. It's always hard and right there with you because of the strength of its foundation. It is rare to encounter a music with these attributes and above all, the placement of THE TRUTH, which rears it's head out to you and makes you pay attention. The Brother Jacques Project doesn't let you go, nor will you be able to let it go. It builds. It grows. It is truth and it is intent. It is NOW. The way we should all strive to be in AND within our own lives.
Kim Smith - 2003