But don’t expect non-stop fretful flights of fancy from Khan, who is content to assume more of a lead comping role using a rich tone than an out-and-out lead solo role for most of the time. Some of that is borne out of the setup; aside from some occasional background keyboards from Rob Mounsey, Khan is the only one playing chordal instrument. He seems content to ride the groove and let his stellar rhythm section set the pace, and the percussion is world class. Interestingly, two Ornette Coleman tunes (“Chronology” and “Blues Connotation) and a Thelonious Monk song (“Bye-Ya”) were chosen for Afro-Cuban treatments, and they’re completely transformed in the process. The guitar player weaves some gorgeous notes on “When She’s Not There” and tosses in some appealing licks in a couple of other spots, but the main attraction of Parting Shot comes from the uniquely angular harmonization of songs that draws from both the contemporary jazz and Latin worlds, and rendered expertly by some of the best session players around.
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Half Notes is a quick-take music feature on Something Else! Reviews, presented whenever the mood strikes us.
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