Just listen to Brian's playing on this CD - it certainly attests to the effectiveness of Barry Harris' teaching methods. But perhaps as impressive as Brian's fluency in the bop idiom is his ability to seamlessly integrate some of the more contemporary elements (bringing to mind such influences as Herbie Hancock and Kenny Barron) into an approach that derives its focus from the music of Bud Powell and Thelonious Monk. It is in this respect that de Lima distinguishes himself: he imbues bebop with a more contemporary bent without betraying the spirit of the music's originators.

In keeping with the bebop tradition, four of Brian's originals are based on the harmony of standards (the fifth, Hamburg HelpWhore, is a reprise). The Buddist Monk is a memorable theme over I Cover the Waterfront; Hamburg Helpher is a dizzying line based on Whispering (which also lends Dizzy Gillespie's bebop anthem Groovin' High its harmony); Lima Beans, which features a catchy, Beethoven-esque intro and outro, owes its harmony to Lover Come Back to Me; and Devil in My Room is closely based on Old Devil Moon. All compositions bear the stamp of de Lima's highly personal sound, and for that matter, the unique sound of the group he has assembled. In fact, Dementia Five has few forerunners in the marriage of its specific artistic focus and instrumentation. Certainly the Montgomery Brothers come to mind, but their music did not bear as close a relationship to the music of Bud Powell and Thelonious Monk. And in Oscar Peterson's group, which also tends more toward a church-oriented soulfulness than did the music of Powell, the guitarist takes more of a back seat than does [Lee's Wallace], who is oftentimes featured as an equal melodic partner. Indeed, the type of music performed by Dementia Five has traditionally been the domain of horn players; the absence of them on this disc makes the group's sound more unique and perhaps more compelling.

The album contains one composition not written by de Lima - George Shearing's She, recorded by both Barry Harris and Bud Powell. And the set is rounded out by four more de Lima originals that also derive their inspiration and focus from Powell and Harris. Dementia Five, which shares its name with this fine group, may be the most immediately memorable, but Beautiful Perplexion, The Immaculate Deception, and The bastard are all compelling and beautiful melodies. In their improvisations, de Lima and his associates show themselves to be steeped and fluent in the vocabulary of Charlie Parker and Bud Powell. And yet it is the compositions themselves that truly get at the spirit of the music of Bud Powell: they are singable and memorable but also have depth, and are capable of expressing the full range of human emotion - from the depths of despair to euphoric joy.

So enjoy what will hopefully be the first of many releases by this fine group. Listen to Lee's Wallace`s crisp, true guitar sound and virtuosic guitar work; listen to Michael Herring`s fat, swinging bass lines; listen to Juhas's impressive and steady accompaniment; and of course, listen to de Lima's piano playing. Says de Lima, “My final outlook is less focused on the piano. When I comp I want to sound like a big band; when I play solo piano I want to sound like a chamber orchestra; and when I solo I want to sound like a horn player.” All are showcased on this recording… and they make for some great piano playing. A memorable debut release!