BODY AND SOUL
Coleman Hawkins’ original solo is difficult to best. All of us who follow merely offer up our own expressions as we (with much love and respect) recall him. The ballad is the real crucible for any musician. Branford shows his maturity and his heart as well. His playing is linguistics set to music.

ST. THOMAS
When Sonny Rollins recorded this tune, he set into place a feeling for it that was to be imitated thereafter. Harold and I approached it with our own musical personalities, but only after being touched by Sonny.

CRY ME A RIVER
Dexter Gordon caught my ear almost from the very beginning of my career. Nobody plays exactly like him, but he certainly inspired so many of us in our pursuit to capture feelings that bring life to the music. James Carter and I tried to accomplish this on this track.

MY FAVORITE THINGS
John Coltrane did just about everything possible on the saxophone, including this tune. Yet, James Carter and I were able to inject our own personalities into it and make it consequential in spite of not sounding like Coltrane.

WHISPER NOT
Though I wrote this tune in 1956, James Carter proves that a talented person can still breathe new life into it. With his help, I was able to revalidate it. Without any different approaches to existing tunes, the ear soon becomes bored.

GIRL FROM IPANEMA
Stan Getz was a master saxophonist. When one plays this tune, he can’t help but think of him. Though not a ballad, there is much passion in it. Harold and I tried to latch onto that and bring it to the fore as we played with one foot in the past, and the other in the present.

MY OLD FLAME
For my money, Harold Ashby stole this track. The sound he gets is all but lost today, probably because it’s reminiscent of the past. However, we should never forget that many things from the past are still valid today. Today I think it’s rather difficult for the younger saxophone players to arrive at a sound like his. Maybe because they don’t want to, or because they don’t know-how. In any case, much experience and know how is involved in such a sound. Zoot Sims, who recorded this tune long ago, would have applauded Harold for his performance here. Bravo, Harold!

LOVER COME BACK TO ME
Ben Webster came to my attention while he was with Duke Ellington’s orchestra in the 40s'. I admired him from the very beginning, and even more after meeting him. He knew how to make his saxophone not only talk, but cry as well. I was delighted to be able to record a tune so closely associated with him. Harold seemed to reach into nowhere and touch his essence.

IN MEMORY OF...
Don Byas was probably my greatest influence at the beginning of my career. His big sound was overwhelming. It was he who made me sound-conscious. This CD afforded me an opportunity to write this composition in his honor, the title of which refers to him. I actually got to know him in 1958 while in Paris. He even came to hear me play several times. How I loved the way he played. I hope this tune is worthy of him.

The Rhythm Section: Geoff Keezer, Dwayne Burno and Joe Farnsworth created a special kind of support, which is actually more than mere support, but a symbiosis – they were inspired by us, and we were inspired by them. All of us brought life along with the music itself. One would have to give special attention to Geoff Keezer because as well as he plays, he’s still ascendant, and for my money, fast coming up on the legendary Art Tatum. I feel a sense of adventure when playing with this rhythm section. They make one want to play….for you.

My special thanks to:
The musicians who helped me make this possible. Bob Karcy of Arkadia Records who is an adventurer like we the musicians are, and thanks to the staff at Arkadia. Gaby Kleinschmidt and Mike Hennessy. Bobbie, my wife, who constantly encouraged me.

All of the above mentioned were essential in realizing this project we now present to you.

—Benny Golson, New York February 1998