" data-original-title="" title="">Gerry Mulligan's nickname)—serves as the gateway into this orchestral realm. It's neither too plush nor anemic in content, striking a fine balance in shape and substance. The opening movement is propulsive and alluring all at once, as buoyant bass, light and motile drums, sweeping strings, here-and-there reeds and brass, shadowing vibraphone, and other aural accoutrements create a bed for Landrus' richly expressive baritone saxophone. A solo interlude for the leader follows, lighting the way to the wondrous and patient second movement, the sensitive and slow-flowing third movement, and the impactful fourth movement. It took Landrus a year-and-a-half to put this piece together, sussing out ideas on his 1948 Selmer, recording and transcribing the results, harmonizing those ideas, and orchestrating and arranging it all to create the end result. The care behind it all shows in every note and gesture painted across the Jeru Concerto.

While that magnum opus would've been more than enough to gush about, it's only the beginning here. Landrus adds another seven standalone compositions to the program after that, further highlighting his own instrumental voice(s) while showcasing various members of this incredible orchestra. "Orchids" is a beautifully floral piece with a light and slow reggae lilt behind it, building in passion and intensity while highlighting the work of harpist