Upon being approached by Ralph Simon (producer for Postcards) in late 1993, I immediately began to ask myself: Who among my peers is artistically strong enough for this project? Which artists have grown through the music in such a way that they can produce sounds deeply rooted in our history and evolution and yet also truly futuristic?

With the artistic elements in place in the form of Sam Rivers, Andrew Hill, Julian Priester, and Pheeroan akLaff, we have recorded a unique CD which has the musical mark of my personal experience and direction but in no way stifles or compormises the wonderful musical resources assembled. It is a true summit conference.

Here are a company and a producer who understand that the musicians whom we have enjoyed so much throughout the years have always been and still are dedicated to creating meaningful music that reflects where we are and where we are going, as well as where we have been. Such an agenda for production gives the connoisseur ample opportunity to grow with the artists. Enjoy real music.

The first selection, "Encounter," written by the late, great John Carter (who passed away little more than a year ago), seemed the perfect vehicle and title to begin this summit conference. It's a pity that more listeners, as well as performers, did not experience Mr. Carter's music before his death.

"Estelle's Theme" was originally conceived as part of The Closed Door, a dance-music-theatre project inspired by Sartre’s No Exit and choreographed and directed by Maya Milenovic’. Maya portrayed Estell, a rather eccentric character who deemed dance among the most important activities of the living. Thus, we have created “Estelle’s Theme” as a waltz with an ironic, contemporary rhythm.

Next, we have "Conversation," written by Sonelius Smith and rearranged and adapted by myself for this project. I believe we have achieved a truly meaningful conversation.

"Meteor," a standard 32-bar composition contributed by Sam Rivers, has a structure that seems to suggest a launching of the soloist as the melody concludes. From that launching, the music takes a natural course with a concise and pinpointed landing.

Another facet of the prolific Sam Rivers is apparent in the lyrical composition "Solace," an appropriate invocation as we reflect on the times in which we all live. "Solace" serves as a sort of pivotal point in this project.

"Summit Conference," another original by myself, structured especially for this occasion, is built from a B-minor chord as a pedal and employs a Phrygian scale or tone quality. Written segments are divided by each soloist’s improvisation; the rhythm section is assigned an open vamp motif to give the soloist maximum freedom within the parameters of the piece.

"Breath," a composition by Julian Priester, presented the most difficult challenge of this project. Here, Mr. Priester chose a G# minor tonality while employing the useful E pedal. Contrapuntal melodies and subtly prescribed rhythmic variations unfold into a unique creation.

Andrew HIll's "Gone," a beautiful tone poem, is placed as the final statement with the intent of leaving the listener in a peaceful place. Mr. Hill expressed his interest in only hearing his melody stated through a variety of tone qualities: one can readily hear that such a strong melody actually needs no more.

Enjoy . . .

-- Reggie Workman, January 1994

Thanks to the support of my wonderful wife Maya Milenovic’ for her inspiration and support for this project.

-- R.W.