The only distortions on Blue Chopsticks /Buell Neidlinger Quintet [K2B2 Records] come from the musicians. Neidlinger's cello, Richard Greene's violin, Jimbo Ross' viola, Marty Krytall's reeds and Hugh Schick's horns grunt, weep, taunt and howl at the most unexpected times. Which is disorienting until one considers that this kind of idiosyncratic, mood-shifting whimsy is what compels about the music of Herbie Nichols, to which Neidlinger is paying tribute here. Nichols, who died in 1963 of leukemia at age 44, was one of jazz's thwarted romantics. One hears a wounded quality in his compositions that both haunts and unsettles. Compared with modernist peers like Thelonious Monk, John Lewis and Horace Silver, Nichols remains as marginally known today as he was in his lifetime. (His best-known tune, LADY SINGS THE BLUES, became famous largely because of the thwarted romantic for whom it was written, Billie Holiday.) Still, the deeper you climb into Nichols' work, the more profound the rewards. Same goes for this album. Neidlinger travelled with Nichols along the margins of the jazz mainstream in the mid-1950s when he was playing bass behind another piano-playing rebel named Cecil Taylor. His interpretations of such Nichols tunes as 2300 SKIDOO; LOVE, GLOOM, CASH, LOVE; PORTRAIT OF UCHA and CRO-MAGNON NIGHTS; are attentive to the composer's impulse towards thematic subversion. The quintet's take on THE GIG; for instatnce, shifts into hoedown mode without harming - in fact, enhancing - the tune's droll jauntiness. Nichols, a bop-generation member who did much of his wood shedding in dixieland bands, would have appreciated such wild juxtapositions. Neo-bop traditionalists will probably sneer. But if they don't like their icons garlanded with bluegrass, they should mount their own Herbie Nichols tribute. Lord knows, he's got a lot more coming to him. --Gene Seymore - Fi Magazine Record of the Year 1996