Epstein, a notable player on the New York scene in the '90s, has kept a lower profile since moving to Nevada, where he now serves as director of the jazz studies program at University of Nevada, Reno. His playing, thankfully, hasn't suffered one bit from the change of scenery. Polarities finds him in strong form, working with and against three of his longtime musical friends; this album may mark the first time that Epstein, trumpeter Ralph Alessi, bassist Sam Minaie, and drummer Mark Ferber were recorded as a single unit, but the saxophonist's ties with each man run deep.

Longtime friends and musical collaborators Peter Epstein and Brad Shepik both became well established on the New York scene: Shepik as an intense and committed guitarist, Epstein as an equally versatile saxman, a superb composer and performer. It was Epstein who proposed this 2005 duo collaboration with both of them contributing pieces. Shepik suggested a young drummer he knew, Matt Kilmer, to complete the trio. The result, recorded in great sounding analogue, is alternately groove-based and more meditative, timeless, often with a folky feel.

Keyboardist James Carney's dream group features a four-horn frontline: two saxes, a trumpet and a trombone. The music he’s given his starry band of improvisers to interpret on 2007's Green-Wood is beautifully crafted and intensely grooving in various feels, from second line and funk to 6/4 and complex time signatures. Inspired by the whole tradition, Carney’s aesthetic unites the jazz mainstream and avant-garde, blending musical derring-do with a post-bop-meets-chamber-music-and-rock lyricism. His band delivers with individuality and relish, while the high resolution recording makes the most of earcatching voicings, timbres and textures. It’s obvious both from his words and his music that Carney’s enthusiasm and energy is tempered by great thoughtfulness and reverence for the art form.