Released in 1978 on Manfred Eicher's iconic ECM Records imprint, In Pas(s)ing stands as the legendary, profoundly influential, and only leader date for the label by master jazz guitarist and educator Mick Goodrick. Highly revered as a guitar guru who shaped generations of players at Berklee (including Pat Metheny and Bill Frisell), Goodrick uses this stellar session to manifest a breathtakingly airy, cerebral, and impressionistic masterpiece. For this landmark quartet date, he gathers an absolute dream team of modern creative music titans: British multi-reed explorer John Surman, bass virtuoso Eddie Gomez, and the incomparable, deeply polyrhythmic drum giant Jack DeJohnette. The interplay among the ensemble is spellbindingly fluid, drifting effortlessly through vast, spacious sonic landscapes. Goodrick’s liquid, chorus-tinged guitar chords and delicate single-note lines form an exquisite harmonic web, beautifully countered by Surman's soaring soprano sax or brooding bass clarinet. Moving from the intricate, driving lines of Pedalpusher to the melancholic, crystalline title track, this pristine recording is a masterclass in atmospheric group intuition and a timeless cornerstone of the ECM aesthetic.

Recorded in the heart of New York City in February 1988 and released a decade later by Evidence, Porgy is an exceptionally rich, dynamic, and inventive post-bop masterclass led by the brilliant pianist Steve Kuhn. What makes this session utterly unique and a rare treat for acoustic jazz aficionados is the double-bass configuration on the front line; Kuhn recruits two of the most titanic, distinct bass players in jazz history—Buster Williams with his deep, anchoring wooden thrum, and Eddie Gomez with his blindingly fast, lyrical upper-register fluidity. Backed by the flawless, driving cymbal work of master drummer Al Foster, the band reimagines classic compositions with immense depth. Kuhn’s crystalline touch effortlessly anchors the dual-bass textures on a setlist stretching from the high-velocity modal swing of Joe Henderson's Isotope and Tadd Dameron's Tadd's Delight to a profoundly tender reading of the Gershwin title track. Featuring two beautifully integrated, poetic vocal cameos by Laura Anne Taylor, this pristine acoustic document stands as a highly imaginative, beautifully realized gem in Kuhn's extensive discography.