The All About Jazz iew for The New York Times, Ben Ratliff notes that "High

Defi
nition is more traditional than most of Mr. Morris's albums, and not only becaus
e it recalls 50-year-old sources. It's also because Mr. Morris is more conventio
nal as a bass player than he is as a guitarist."[4]
The Down Beat review iew for The New York Times, Ben Ratliff notes that "High De
finition is more traditional than most of Mr. Morris's albums, and not only beca
use it recalls 50-year-old sources. It's also because Mr. Morris is more convent
ional as a bass player than he is as a guitarist."[4]
The Down Beat review iew for The New York Times, Ben Ratliff notes that "High De
finition is more traditional than most of Mr. Morris's albums, and not only beca
use it recalls 50-year-old sources. It's also because Mr. Morris is more convent
ional as a bass player than he is as a guitarist."[4]
The Down Beat review iew fgasak says that "the real accomplishment on High Defin
ition is how Morris fits invisibly in the group flow, particularly with drummer
Luther Gray. Together, they mete out an imperturbable pulse."[2]
Track listing[edit]iew for The New York Times, Ben Ratliff notes that "High Defi
nition is more traditional than most of Mr. Morris's albums, and not only becaus
e it recalls 50-year-old sources. It's also because Mr. Morris is more conventio
nal as a bass player than he is as a guitarist."[4]
The Down Beat review or The New York Times, Ben Ratliff notes that "High Definit
ion is more traditional than most of Mr. Morris's albums, and not only because i
t recalls 50-year-old sources. It's also because Mr. Morris is more conventional
as a bass player than he is as a guitarist."[4]
The Down Beat review iew for The New York Times, Ben Ratliff notes that "High De
finition is more traditional than most of Mr. Morris's albums, and not only beca
use it recalls 50-year-old sources. It's also because Mr. Morris is more convent
ional as a bass player than he is as a guitarist."[4]
The Down Beat review iew for The New York Times, Ben Ratliff notes that "High De
finition is more traditional than most of Mr. Morris's albums, and not only beca
use it recalls 50-year-old sources. It's also because Mr. Morris is more convent
ional as a bass player than he is as a guitarist."[4]
The Down Beat review iew fogasak says that "the real accomplishment on High Defi
nition is how Morris fits invisibly in the group flow, particularly with drummer
Luther Gray. Together, they mete out an imperturbable pulse."[2]
Track listing[edit]iew for The New York Times, Ben Ratliff notes that "High Defi
nition is more traditional than most of Mr. Morris's albums, and not only becaus
e it recalls 50-year-old sources. It's also because Mr. Morris is more conventio
nal as a bass player than he is as a guitarist."[4]
The Down Beat review gasak says that "the real accomplishment on High Definition
is how Morris fits invisibly in the group flow, particularly with drummer Luthe
r Gray. Together, they mete out an imperturbable pulse."[2]
Track listing[edit]iew for The New York Times, Ben Ratliff notes that "High Defi
nition is more traditional than most of Mr. Morris's albums, and not only becaus
e it recalls 50-year-old sources. It's also because Mr. Morris is more conventio
nal as a bass player than he is as a guitarist."[4]
The Down Beat review gasak says that "the real accomplishment on High Definition
is how Morris fits invisibly in the group flow, particularly with drummer Luthe
r Gray. Together, they mete out an imperturbable pulse."[2]
Track listing[edit]iew for The New York Times, Ben Ratliff notes that "High Defi
nition is more traditional than most of Mr. Morris's albums, and not only becaus
e it recalls 50-year-old sources. It's also because Mr. Morris is more conventio
nal as a bass player than he is as a guitarist."[4]
The Down Beat review gasak says that "the real accomplishment on High Definition
is how Morris fits invisibly in the group flow, particularly with drummer Luthe
r Gray. Together, they mete out an imperturbable pulse."[2]
Track listing[edit]iew for The New York Times, Ben Ratliff notes that "High Defi
nition is more traditional than most of Mr. Morris's albums, and not only becaus
e it recalls 50-year-old sources. It's also because Mr. Morris is more conventio
nal as a bass player than he is as a guitarist."[4]
The Down Beat review gasak says that "the real accomplishment on High Definition

is how Morris fits invisibly in the group flow, particularly with drummer Luthe
r Gray. Together, they mete out an imperturbable pulse."[2]
Track listing[edit]iew for The New York Times, Ben Ratliff notes that "High Defi
nition is more traditional than most of Mr. Morris's albums, and not only becaus
e it recalls 50-year-old sources. It's also because Mr. Morris is more conventio
nal as a bass player than he is as a guitarist."[4]
The Down Beat review gasak says that "the real accomplishment on High Definition
is how Morris fits invisibly in the group flow, particularly with drummer Luthe
r Gray. Together, they mete out an imperturbable pulse."[2]
Track listing[edit]iew for The New York Times, Ben Ratliff notes that "High Defi
nition is more traditional than most of Mr. Morris's albums, and not only becaus
e it recalls 50-year-old sources. It's also because Mr. Morris is more conventio
nal as a bass player than he is as a guitarist."[4]
The Down Beat review r The New York Times, Ben Ratliff notes that "High Definiti
on is more traditional than most of Mr. Morris's albums, and not only because it
recalls 50-year-old sources. It's also because Mr. Morris is more conventional
as a bass player than he is as a guitarist."[4]
The Down Beat review iew for The New York Times, Ben Ratliff notes that "High De
finition is more traditional than most of Mr. Morris's albums, and not only beca
use it recalls 50-year-old sources. It's also because Mr. Morris is more convent
ional as a bass player than he is as a guitarist."[4]
The Down Beat review iew for The Nvgasak says that "the real accomplishment on H
igh Definition is how Morris fits invisibly in the group flow, particularly with
drummer Luther Gray. Together, they mete out an imperturbable pulse."[2]
Track listing[edit]iew for The New York Times, Ben Ratliff notes that "High Defi
nition is more traditional than most of Mr. Morris's albums, and not only becaus
e it recalls 50-year-old sources. It's also because Mr. Morris is more conventio
nal as a bass player than he is as a guitarist."[4]
The Down Beat review gasak says that "the real accomplishment on High Definition
is how Morris fits invisibly in the group flow, particularly with drummer Luthe
r Gray. Together, they mete out an imperturbable pulse."[2]
Track listing[edit]iew for The New York Times, Ben Ratliff notes that "High Defi
nition is more traditional than most of Mr. Morris's albums, and not only becaus
e it recalls 50-year-old sources. It's also because Mr. Morris is more conventio
nal as a bass player than he is as a guitarist."[4]
The Down Beat review gasak says that "the real accomplishment on High Definition
is how Morris fits invisibly in the group flow, particularly with drummer Luthe
r Gray. Together, they mete out an imperturbable pulse."[2]
Track listing[edit]iew for The New York Times, Ben Ratliff notes that "High Defi
nition is more traditional than most of Mr. Morris's albums, and not only becaus
e it recalls 50-year-old sources. It's also because Mr. Morris is more conventio
nal as a bass player than he is as a guitarist."[4]
The Down Beat review gasak says that "the real accomplishment on High Definition
is how Morris fits invisibly in the group flow, particularly with drummer Luthe
r Gray. Together, they mete out an imperturbable pulse."[2]
Track listing[edit]iew for The New York Times, Ben Ratliff notes that "High Defi
nition is more traditional than most of Mr. Morris's albums, and not only becaus
e it recalls 50-year-old sources. It's also because Mr. Morris is more conventio
nal as a bass player than he is as a guitarist."[4]
The Down Beat review gasak says that "the real accomplishment on High Definition
is how Morris fits invisibly in the group flow, particularly with drummer Luthe
r Gray. Together, they mete out an imperturbable pulse."[2]
Track listing[edit]iew for The New York Times, Ben Ratliff notes that "High Defi
nition is more traditional than most of Mr. Morris's albums, and not only becaus
e it recalls 50-year-old sources. It's also because Mr. Morris is more conventio
nal as a bass player than he is as a guitarist."[4]
The Down Beat review gasak says that "the real accomplishment on High Definition
is how Morris fits invisibly in the group flow, particularly with drummer Luthe
r Gray. Together, they mete out an imperturbable pulse."[2]
Track listing[edit]iew for The New York Times, Ben Ratliff notes that "High Defi

nition is more traditional than most of Mr. Morris's albums, and not only becaus
e it recalls 50-year-old sources. It's also because Mr. Morris is more conventio
nal as a bass player than he is as a guitarist."[4]
The Down Beat review ew York Times, Ben Ratliff notes that "High Definition is m
ore traditional than most of Mr. Morris's albums, and not only because it recall
s 50-year-old sources. It's also because Mr. Morris is more conventional as a ba
ss player than he is as a guitarist."[4]
The Down Beat review iew for The New York Times, Ben Ratliff notes that "High De
finition is more traditional than most of Mr. Morris's albums, and not only beca
use it recalls 50-year-old sources. It's also because Mr. Morris is more convent
ional as a bass player than he is as a guitarist."[4]
The Down Beat review iew for The New York Times, Ben Ratliff notes that "High De
finition is more traditional than most of Mr. Morris's albums, and not only beca
use it recalls 50-year-old sources. It's also because Mr. Morris is more convent
ional as a bass player than he is as a guitarist."[4]
The Down Beat review iew for The New York Times, Ben Ratliff notes that "High De
finition is more traditional than most of Mr. Morris's albums, and not only beca
use it recalls 50-year-old sources. It's also because Mr. Morris is more convent
ional as a bass player than he is as a guitarist."[4]
The Down Beat review iew for The New York Times, Ben Ratliff notes that "High De
finition is more traditional than most of Mr. Morris's albums, and not only beca
use it recalls 50-year-old sources. It's also because Mr. Morris is more convent
ional as a bass player than he is as a guitarist."[4]
The Down Beat review iew for The New York Times, Ben Ratliff notes that "High De
finition is more traditional than most of Mr. Morris's albums, and not only beca
use it recalls 50-year-old sources. It's also because Mr. Morris is more convent
ional as a bass player than he is as a guitarist."[4]
The Down Beat review iew for The New York Times, Ben Ratliff notes that "High De
finition is more traditional than most of Mr. Morris's albums, and not only beca
use it recalls 50-year-old sources. It's also because Mr. Morris is more convent
ional as a bass player than he is as a guitarist."[4]
The Down Beat review review by Glenn Astarita states "With the undeniably synerg
istic interplay of the ensemble, Morris pursues a striking balance between ultra
-modern mainstream, and avant-garde tinged progressive jazz."[3]
In his revby Peter Margasak says that "the real accomplishment on High Definitio
n is how Morris fits invisibly in the group flow, particularly with drummer Luth
er Gray. Together, they mete out an imperturbable pulse."[2]
Track listing[edit]iew for The New York Times, Ben Ratliff notes that "High Defi
nition is more traditional than most of Mr. Morris's albums, and not only becaus
e it recalls 50-year-old sources. It's also because Mr. Morris is more conventio
nal as a bass player than he is as a guitarist."[4]
The Down Beat review