"And the drummer Eric Harland’s rewriting of “Yes or No,” with a rhythm in alternating four- and five-beat measures, became a sneaky concerto. Mr. Harland always plays as if he’s soloing, so as the piece went through its slow buildup you weren’t expecting the actual solo in the middle. It arrived and stayed for a few minutes; then the drumming became enfolded again into the group without a change in style, flowing onward."
Click here for BEN RATLIFF's full article at NYTimes.
