The pastoral landscape that is offered to the listener by way of the cover art of Hudson seems to be directly contradicted by the exposition of the album.  Medeski’s organ is at times eerily wispy and later on crunchy in tone.  DeJohnette’s performance is reserved.  Scofield’s usage of harmonics provides a capstone to the alienating beginning of what proves to be an odyssey to the idyllic valley guaranteed at the outset. 
The Dylan covers on Hudson are wonderful.  The rendition of “Lay Lady Lay” displays a reverence that completely preserves the unmistakable melody—a melody that was usually even lost in Dylan’s performances.  The only reharmonization present gives the track an impressive and triumphant cadence that complements the theme quite nicely. 
The serenity that is promised by the picturesque landscape is fully realized on the track “Song for World Forgiveness”.  With the listener’s arrival in the valley comes an entirely new cast of characters, as well.  The vocal performance on “Dirty Ground” is initially surprising and soon proves to be graciously welcomed.  “Tony Then Jack” gives the album a melodic reminiscence that references unabashedly Mr DeJohnette’s time with Miles Davis following the departure of long-time quintet member Tony Williams. 
The final track, “Great Spirit Peace Chant”, I imagine, would be quite unimpressive and even confusing if listened to outside of the context of the album as a whole.  But when taken in with the same breath of air as the artist’s appreciation for the Hudson Valley as a counterpoint to the bustle of New York City, the song is understood and executed expertly. 
I hope to see more releases by Hudson.  The end of this record leaves me at rest and completely aware of the heights that these artists can achieve together.  Hudson is conducting a tour for the remainder of 2017 that will visit Canada as well as the American north and south-west.
DJ 440