It’s useful, but not imperative, to read Scott Yanow’s liner notes in order to understand the concept behind The Seven Rays. They explain the titling of the first seven tracks after, as Bergonzi puts it, “particular ideas and types of people”: magnetism, harmony, knowledge, and so on. The liners go on to dissect what’s happening in each section, but the music will be no less satisfying should the listener hear it without benefit of explanation. Bergonzi, the tenor saxophonist who first came to attention via his work with Dave Brubeck in the 1970s and has since released more than 40 albums of his own, made certain that his grand statement would stand on its own.
The first “ray,” “Intention,” is one of the more aggressive. It serves largely as a showcase for Bergonzi’s own soloing—taking on a tougher tone than he generally puts forth—and that of trumpeter Phil Grenadier, until, toward the end, pianist Carl Winther takes his shot, maintaining the number’s assertiveness till it all finally melts away into nothingness.