Creating sublime musical structures over the last five decades, where risk-taking, rhythmic rapport, and giving of oneself to the music are the essence, legendary bassist David Friesen's music continues to reach new pinnacles of profound expression. On disc one, his long-touring, closely knit trio with saxophonist Joe Manis and drummer Charlie Doggett went into a Portland studio to record 13 new works by Friesen. Disc Two, with Manis and Australia-based drummer, Reuben Bradley, is a bristling live performance from Vienna's Porgy & Bess jazz club during their Spring 2019 European tour. Thriving on selfless awareness and their uncanny compatibility, the trio's joyful interactions offer surprise, beauty, and depth at every turn.

As early as 1976, Nat Hentoff wrote: "Once in a great while, a musician emerges with such authority and such seemingly effortless originality that his place in the front ranks of his instrument is unquestioned." Hentoff was not speaking of promise or potential, but actual performance, and forty-two years later, with My Faith, My Life, bassist David Friesen has added immeasurably to his stature. With its two CD suites complementing each other so fully, it's an epochal achievement - a testament to the offers of faith, matched with a purposeful life. Disc One is a 13-piece solo performance on his Hemage Bass, which calls attention to the intimacy and immediacy of his compositions. The solo piano of Disc Two highlights Friesen's supple touch on an instrument he's not generally known for. Closing the set, the composition "My Faith, My Life" sums it all up: a credo, affirmation, reverence - lower register continuity laced with sublime melody: a hymn to the Source of all song, with a fitting Amen at the close.

On first glance, Through the Listening Glass is a duet recording between bassist David Friesen and guitarist John Stowell, at the time two burgeoning jazz fusion musicians whose kinship to the world sound of the group Oregon is easy to recognize. As one absorbs this music, you realize this album could easily be titled "The Art of the Overdub." Using multiple basses and guitars, percussion instruments, and the soprano sax of Gary Campbell, Friesen and Stowell create landscapes and skyscapes of sound on sound, at times a bit busy, mostly reaching for inner truths and a connection to some other dimension. There's no modicum of earthiness, but they strive to reach for the heavens, and use the technology of the times to create conversations within basic texts, layering them to a degree approaching epiphany…

One of bassist David Friesen's better jazz sessions as a leader, this set has some excellent playing by tenor saxophonist Joe Henderson on "Amber Skies" and "Underlying," a rare opportunity for flutist Paul Horn to take a solo in a straight-ahead setting ("Blue and Green"), and was the first opportunity that pianist Chick Corea and drummer Paul Motian had to work together; percussionist Airto completes the sextet. The diverse originals, all by Friesen, feature each of the players quite favorably, and the overall results are stimulating.