Honey and salt is loosely divided into three chapters and an epilogue the first, urban leaning poems the second, more rural themes and ideas the third examining the collision and overlap of the two and the epilogue serving as a meditative leave taking'. '.strtoupper('l')ee morgan esque horn lines over a gut rumbling blues bassline open soup, sandburg's more timely than ever musing about a celebrity caught in the ordinary act of slurping soup from a spoon'. '.strtoupper('c')hristian mcbride's gregarious baritone intones anywhere and everywhere people, with a series of horn motifs for the poem's key repeated words'. '.strtoupper('w')ilson himself recites the contemplative as wave follows wave, ultimately joined by a host of collaborators, friends and family members'. '.strtoupper('n')ight stuff unfolds against a slow, twilit landscape, while john scofield recites we must be polite in a hilarious deadpan against wilson's new orleans shuffle'. '.strtoupper('s')andburg's own voice can be heard in duet with wilson's drums on his most revered poem, fog'. '.strtoupper('c')hapter one closes with the raucous march of choose'. '.strtoupper('l')ederer reads prairie barn which references a barn owned by a relative by marriage of wilson's against thomson's american tinged guitar and clattering wind chimes to open chapter two'. '.strtoupper('o')ffering and rebuff becomes a country love song, while stars, songs, faces takes on an ornette inspired harmolodic tone'. '.strtoupper('b')ringers closes the chapter with a taste of down home gospel'. '.strtoupper('c')hapter three opens with black reading snatch of sliphorn jazz in a cantankerous rasp while lederer and wilson duet?'? '.strtoupper('