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On One More Forever, the cavernous sonorities of Lindsey Horner's double bass propel listeners through an alhambra of blues shouts, Irish laments and Baroque gigues. His playing offers a foundation rooted in firm vamps from which are forged molten grooves and cascading melodies that are uplifting and soulful.”- Greg Masters, author of “What All the Songs Add Up To” - Greg Masters

— What All the Songs Add Up To

On One More Forever, New York-based bassist Lindsey Horner not only showcases his considerable command of the woody-toned upright instrument, but he also conveys a genuine sense of  musical joy throughout the engaging program. That latter quality is one that transcends chops, though Horner does flaunt prodigious chops on this daring and very revealing outing that has him playing in solo and duo settings, traversing myriad styles along the way. Horner comes out singing on “What Might Have Been,” the warm, deep tones of his upright bass resounding with uncommon lyricism. His unerring groove factor is evident in his buoyant interactions with drummer Jeff Berman on the engaging calypso tinged “Dervish,” a rhythmically charged tune that carries the upbeat pulse of Weather Report’s “Black Market.” Horner fairly testifies on the slow bluesy dirge of “Long Time Comin’ / Long Time Gone”, dedicated to late bass great and educator Milt “The Judge” Hinton, and he speaks with profound depth on “All the Time in the World,” dedicated to his wife Andrea. His clever re-imagining of Monk’s “Let’s Cool One” has him stating the familiar melody against Berman’s Clyde Stubblefield flavored funky drummer backbeat. The bassist takes his time and speaks authoritatively on his unaccompanied “Sharing Is Caring.” “Wreckage on the Shores of Now” is a slow groover with Berman that has the bassist bowing in audacious fashion on his extended solo. “Fania” opens with a kind of dub feel, though at its heart it is a salsified tribute to the all-star band that captured the imagination of Nuyoricans in the late ‘60s and early ‘70s. Horner cuts the difficult line of “Minority,” the Gigi Gryce hard bop anthem, with aplomb in his surging unaccompanied rendition. And the album closes just as it started, on a singing note, with “What Else Might Have Been,” Horner’s arco answer to his lyrical number that opens the album.In Horner’s hands, the bass sings, speaks, grooves and sighs on One More Forever, his low-end tour de force. — Bill MilkowskiBill Milkowski is a regular contributor to DownBeat and Jazziz magazines. He is also the author of JACO: The Extraordinary and Tragic Life of Jaco Pastorius (Backbeat Books)” - Bill Milkowski