Imprint

1	King Kong 8:38
2	Poastcard 6:45
3	Little Steps 7:12
4	Joan 6:45
5	Maroon Bells 0:41
6	Imprint 11:21
7	The Well 5:51
8	Essay 9:04
9	Japanese Folk Song 5:23
10	Afro Blue 5:37

Barnes & Noble

The renowned bassist John Patitucci has been on a roll lately, producing some of the more enjoyable modern mainstream recordings of the past few years. His latest finds the instrumentalist-composer experimenting with interesting new textures. IMPRINT has a distinctly Latin bent to it, a joyously propulsive rhythmic feel that animates some of its best tracks. And while there's plenty of space for Patitucci's virtuosic bass flights, some of the most impressive playing, not surprisingly, issues from the percussionist Giovanni Hidalgo and trap drummer Horacio "El Negro" Hernandez. On "King Kong," "Imprint," and the Mongo Santamaria classic "Afro Blue" -- done here as a percussion and bass duet -- the rhythmic undercurrent adds a tangy quality to the fare. Saxophonist Chris Potter also makes a fine showing, as do pianists Danilio Perez and John Beardsley. Special guests, drummer Jack DeJohnette and tenorist Mark Turner, lend verve to the up-tempo "Little Steps" -- catch the two tenor tangle -- and the more ruminative "Essay" with its highly musical drum break. And though he makes sure to be as supportive as possible, Patitucci's own contributions are impossible to miss. He's as able and imaginative a bassist as is now playing jazz. Steve Futterman

All Music Guide

When GRP dropped John Patitucci in 1996, it turned out to be a blessing in disguise. The bassist found a supportive new home in Concord Jazz, where his creativity was encouraged and he was able to take his share of chances. Just as 1998's cerebral Now was a departure from 1996's introspective, deeply personal One More Angel, Imprint finds Patitucci surprising his followers once again by emphasizing Latin elements. Employing drummer Jack DeJohnette and saxman Chris Potter, as well as Latino improvisers, pianist Danilo Perez and drummer/percussionist Horacio "El Negro" Hernandez, Imprint is the most Latin-minded album that he recorded in the 1990s. However, Imprint isn't Latin jazz in the sense that Poncho Sanchez is Latin jazz -- it is more intellectual and less direct, and it's not as accessible. While Sanchez's releases tend to favor immediacy and take an extroverted, party-time approach, that's hardly what Patitucci is going for on this acoustic post-post-jazz effort. Sticking to the upright bass, Patitucci delivers an album that is almost as intellectual as Now, but with an emphasis on Latin rhythms. For those who aren't afraid of being challenged, Imprint is a welcome addition to the bassist's catalogue. Alex Henderson