What a mood, what an atmosphere! It's hard to believe that this actually took place on November 17, 2018! We listen to a jazz concert that sounds like it was recorded in the last millennium at Minton 700;s Playhouse in New York, or perhaps in Birdland or Village Vanguard: euphoric, unique, unrepeatable, because on evenings like this everything simply fits together, the signs are favorable, the musicians really enjoy playing and the audience pushes them constantly to the absolute limit. The strings vibrate gently. Accurate tone, unconditionally clear. And quietly. The longest fingers of jazz seem to dance weightlessly along the wooden bridge; yearning, filigree and elegant. No one else sounds like Ron Carter. His double bass often produces a crisp groove like an electric bass, yet it is always clearly definable as the sound of a classical music instrument. Then the sound under the scorpion-like hands irresistibly swells. Payton Crossley gently caresses the cymbal, and Jimmy Green, the "new member" on the tenor saxophone as well as pianist Renee Rosnes push the chorus onto the finely crocheted rhythm cover. ''With us, nobody knows exactly what happens when,'' Carter praised the Foursight Quartet's unique selling point. ''This is precisely why every concert is a real challenge. We almost always play 35 to 40 minutes without a stop at the beginning. No breaks, just slight changes that show the beginning of a new song. If we were a classical music band, it would be called a symphony with five movements. This kind of thing only works with this band!'' Each song is a tribute without specific addressees, a message to many friends, wives and men, strangers, all those who are no longer on the earthly stage, ''who left the concert early...''
