Larry Bluth, Don Messina, Bill Chattin - Never More Here (2022)

[...] Four tracks were recorded at a small concert hall in Teaneck, New Jersey (three tunes prior to the concert and one during the performance). The other five selections were recorded at Sette MoMA, a club within the Museum of Modern Art in New York City. The Teaneck hall had this wonderful Baldwin grand piano that we dug. A favorite of mine from this date is "Klactoveedsedstene," (Bird’s new melody on Perdido). Larry plays Parker's improvised bridge beautifully: I think he captured Bird’s feeling accurately and soulfully. "Larry’s Line" is a Bluth original that used material he was working on with Mosca, it's over the structure of Cole Porter's "I Love You." The line is stunning. It's the only time we recorded it. On the Sette MoMa gig, we were booked for two nights, four sets a night. I still remember how much I really enjoyed playing "Sippin' at Bell's," and how nervous I was trying to play that line with Larry. "Riverdale" is a group improvisation on the form of "You'd Be So Nice to Come To." It's a tune that our trio played often and the minor key was something that Larry was able to stretched out on. With Jerome Kern's "Yesterdays," Larry changed the harmony of first four bars and this small change really opened it up for us. On "Sound-Lee" I dig how Larry waited many choruses before playing Lee Konitz's line leading into the bass solo.

—Don Messina, taken from the inside liner notes