This is a brooding, dense album, which is the reason why it is so unique and enjoyable, unlike many albums where the density of constantly changing rhythmic enchantment mingles with even denser harmonies. It is not hard to wrap the mind around these harmonies, but it certainly is amazing to note that these have been created by just two keyboards, an occasional saxophonist or two and a percussion colorist as wise beyond his years as Eric Harland. This is evident as much on the stunning recasting of Charlie Parker's "Moose The Mooche" as it is on the dark beauty of the magical and mysterious "Manhã de Carnaval."
Aaron Goldberg's star in modern jazz has constantly been on the rise, especially as an accompanist. With Home, he establishes a delicate balance between the softer side of modern mainstream music a la Bill Evans with the more advanced harmonic approach of Keith Jarrett, while occasionally adding some rock-'em sock-'em neo-bop to the proceedings. These are mainly trio sessions with bassist Reuben Rogers and drummer Eric Harland, but on occasion tenor saxophonist Mark Turner joins in, though his voicings are merely icing on the cake.
While one might reasonably prefer this, that or the other recording of Bach's "Goldberg" Variations, one should still take the time to listen to this 1997 recording of the work played on the harpsichord by Masaaki Suzuki on BIS. For one thing, Suzuki is the conductor of BIS' series of Bach Cantata recordings and it is interesting to hear what he can do on his own without other musicians as intermediaries.