Wednesday, 27 February 2019

VA ‎– Antologia De Música Atípica Portuguesa Vol.2: Regiões (2019)

Style: Avantgarde, Experimental
Format: Vinyl, FLAC
Label: Discrepant

1.   Síria (Diana Combo) - Por Riba
2.   Random Gods - Gazulo à Estronca da Santosa
3.   Ondness - Malta Inquieta
4.   Filho Da Mãe - Manta
5.   Live Low - Montemor
6.   Banha da Cobra - Asylo
7.   Fantasma - Lamento das Beiras
8.   Gonzo - Tromba Rota
9.   Luís Antero - Pastagens Sonoras

Mastered By – Rashad Becker

Second volume of our ongoing series, Antologia de Música Atípica Portuguesa (Anthology of Atypical Portuguese Music), this time focussing on various regional styles of the country. A new volume, new sound(s) on these series focussing on new strains of Portuguese music with an (un)characteristic foot in the past musical traditions of the country. The aim being to re-evaluate its musical history, de-construct clichés and re-assemble preconceptions into a new and daring musical landscape.

Monday, 25 February 2019

Pierre Akendengue ‎– Afrika Obota / Nandipo (1991)

Style: Afro-Cuban, Afro-Cuban Jazz, Folk
Format: CD, Cass.
Label: Savanah, Omagatoki

01.   Afrika
02.   Negro
03.   Evo
04.   Considerable
05.   Orema Ka-Ka-Ka
06.   Orei II
07.   Sa Gunu, Sa Gunu
08.   Mon Pays Entre Soleil Et Pluie
09.   Olatano, W'intye So Du S'africa
10.   Oma Ayiya
11.   Chant Du Coupeur D'Oukoume
12.   Poe
13.   Sesi
14.   Ogowe
15.   Le Trottoir D'en Face
16.   Ompung'ilendo
17.   Onaga Are Mie Bia
18.   Un Conte Du Roi Orei
19.   Nandipo

Composed By, Written-By – Pierre Akendengue

Monday, 11 February 2019

Jonah Sharp / Bill Laswell ‎– Visitation (1994)

Style: Dub, Techno, Ambient
Format: CD
Label:  Subharmonic

1.   Zurvan Akarana
2.   Aion

Bill Laswell - Bass, Composer, Producer, Synthesizer
Jonah Sharp - Composer, Producer, Synthesizer

The manipulation of spirit through music is both a subject of historical fact and ongoing development. Traditional instruments have served spiritual purposes very well over the millennia, especially where rhythm is concerned. Where drums, rattles, and sistrae have served in the past, electronic instruments serve in the present and look to provide service in the future -- especially those that can easily produce a shift in sonic identity (samplers are good for this, but synthesizers, ever more complex, can take a bare mathematical notion and produce something formerly unknown from it.) Jonah Sharp and Bill Laswell, working in tandem, have produced a pair of ambient slabs built on a mixture of rhythmic anchor and rhythmic shift, in which bass underlies skittish, swirling synthesizer layers with a pulsing thread that almost helps to focus the electronics, before fading slowly away. What comes between the anchors is a sound of space and spirit -- while the synthesizers crisscross and swirl in their own pulsing rhythms, the sound is only truly rooted when the bass breathes in -- this, at least, is "Zurvan Akra." "Aion" is more subtle in its rhythmic interplay, though it is there, woven into the deep space fabric of things. Sharp and Laswell spend their time riding the cycles in the heart of the piece, producing something that, on the whole, might be seen as quite a piece for planetariums -- or Halloween spook shows. Even with the cycles and rhythms, it's very easy to let go and just drift, floating from one end to the other even through the deep bass passages. True space music.
Steven McDonald / AllMusic

PlanningToRock ‎– W (2011)

Style: Electro, Synth-pop
Format: CD, Vinyl
Label: DFA

1.01.   Doorway
1.02.   The One
1.03.   Manifesto
1.04.   Going Wrong
1.05.   I'm Yr Man
1.06.   The Breaks
1.07.   Living It Out
1.08.   Milky Blau
1.09.   Jam
1.10.   Black Thumber
1.11.   Janine
1.12.   #9
2.01.   Doorway (Jamroll Version)
2.02.   Privates
2.03.   My Valuable Hunting Knife
2.04.   Summer Save Me

Percussion – Hjorleifur Jonsson
Mixed By – Christoffer Berg, PlanningToRock
Performer, Producer – PlanningToRock
Written-By, Lyrics By – PlanningToRock

Those arriving at Doorway – the opening track of W, Planningtorock’s second album – with no prior knowledge of its architect might be rather shocked to discover that the growled, baroque malevolence on display actually comes courtesy of a woman who spent her youth growing up in Bolton. Janine Rostron seems to revel in such confusion, playing with roles of identity in a provocative fashion, defying notions of conventional sexuality to such a degree that one song is entitled I Am Your Man. Even the video for Doorway features her with a mask that succeeds in making her look like Mr Spock’s glamorous sister. 
But though it’s frequently disconcerting, W is also thoroughly engrossing, creating an alternative musical universe in much the same way as The Knife, the Swedish act with whom she collaborated on 2010’s opera Tomorrow, In a Year. Evidently at home in the studio, Rostron imagines a darkly melodramatic world of shadows and sleek metallic edges, her electronic setting industrial and semi-gothic in a similar fashion to current critical faves EMA and Zola Jesus. Unlike them, however, Rostron refuses to ham it up, using technology to stretch her voice into unrecognisable shapes that hold an audience at a distance and render her almost robotic, as much a part of the artificial environment as the machines she employs. 
So when her slowed-down vocal on The Breaks delivers lines like "Don’t be surprised, I’m ripping out my eyes… We break too easily", it’s the replicants of Blade Runner that come to mind. This is underlined by arrangements that recall the lush orchestration of Vangelis’ soundtrack to Ridley Scott’s legendary film, with pizzicato strings and saxophone nestled amidst the brooding soundscapes of Going Wrong and Milky Blau, and Black Thumber conjuring up images of epic stargazing. 
There’s plenty of other unsettling trickery going on: Jam is a woozy experiment in key-shifting synths, metallic percussion and nightmarish vocals, Janine a minimalist cover of an old Arthur Russell tune rendered with little more than a rumbling bass synth and another decelerated vocal take. But Living It Out is a playful pop tune in debt to Giorgio Moroder, while Manifesto could be a 21st century take on Bow Wow Wow. James Murphy’s (of LCD Soundsystem) decision to sign this shape-shifting creature to DFA Records makes perfect sense given her blend of art, electronics and mischievous humour, and while it’s an undeniably alien world Rostron inhabits, it’s an altogether convincing one.
Wyndham Wallace / BBC Review

PlanningToRock ‎– All Love's Legal (2014)

Style: Abstract, House, Ambient
Format: CD, Vinyl
Label: Human Level

01.   Welcome
02.   All Love's Legal
03.   Human Drama
04.   Answer Land
05.   Let's Talk About Gender Baby
06.   Words Are Glass
07.   Misogyny Drop Dead
08.   Steps
09.   Beyond Binary Binds
10.   Public Love
11.   Purple Love
12.   Patriarchy Over & Outico

Planningtorock's message of gender equality and sexual freedom on All Love's Legal seems simplistic and dated at first. But in 2014, the simplest messages are often the most urgent ones. Western media coverage of the Sochi Oympics has brought attention to Russian anti-gay violence and legislation. But we're also sharing a planet with at least five countries where even vaguely defined homosexual behavior is worthy of the death penalty. Jam Rostron, the multimedia artist behind Planningtorock, sings "You can't illegalize love" on the title track on All Love's Legal. That slogan could fit on a t-shirt, but that's not necessarily a bad thing. Nuance isn't translating so well today. 
Rostron's musical work, a kind of art-house house, has always been a smart platform for direct intentions. Her debut album Have It All laid down the small set of tools—violin, keyboards, drum machine, heavily processed vocals—that she would also use on her followup W. Setting aside Rostron's collaboration with the Knife, Tomorrow, in a Year, she's only gotten better at the balance. On All Love's Legal she refines further, adding or subtracting beats and strings until finding the right tension between her unambiguous gender politics and her unknowable voice. 
Despite the sparse instrumentation and arrangement, Rostron's songs evoke huge, cavernous spaces. By manipulating the attack and echo on her strings and synths, she creates the clouds of theatrical fog that cling to the melody on "Human Drama". You can hear the empty stage surrounding her. The bass and drums songs, like "Misogyny Drop Dead" and "All Love's Legal", drift out of sync, tugging at each other and galloping separately. Even the most straightforward dance track, the irresistibly in-sync "Let’s Talk About Gender Baby", feels off, but in a good way. Rostron repeats the titular phrase over her usual brooding bass line, but she extends the syllables a little too long, slurring her words on either the world's most self-aware dancefloor or your college's drunkest women's studies discussion section.
Jessica Suarez / Pitchfork

Paul Simon ‎– Graceland - 25th Anniversary Edition (1986)

Genre: Rock, Folk, World, Country
Format: CD, Vinyl
Label:  Legacy, Sony Music

01.   The Boy In The Bubble
02.   Graceland
03.   I Know What I Know
04.   Gumboots
05.   Diamonds On The Soles Of Her Shoes
06.   You Can Call Me Al
07.   Under African Skies
08.   Homeless
09.   Crazy Love, Vol. II
10.   That Was Your Mother
11.   All Around The World Or The Myth Of Fingerprints
Bonus Tracks
12.   Homeless (Demo)
13.   Diamonds On The Soles Of Her Shoes (Alternate Version)
14.   All Around The World Or The Myth Of Fingerprints (Early Version)
15.   You Can Call Me Al (Demo)
16.   Crazy Love (Demo)
17.   The Story Of "Graceland" - As Told By Paul Simon (Previously Unreleased)

Producer – Paul Simon
Remastered By – Greg Calbi
Written-By – Paul Simon

Today it’s hard to remember the controversy surrounding this classic album on its original release in 1986.  Equally, it’s hard to credit just how low Paul Simon stood in the musical hierarchy back then. His work up to the mid-80s had not caught the public imagination; his glory days distant memories. Then came that trip to South Africa… 
The impact of Graceland on its release has been rarely equalled in rock’n’roll – arguably only Elvis’ 68 Comeback Special packed the same punch. Has there ever been a better opening brace than The Boy in the Bubble and Graceland? Is there not something wholly irresistible about You Can Call Me Al? Has Simon ever matched the poignancy of Homeless? Or the sheer exuberance of Diamonds on the Soles of Her Shoes? 
Graceland gave Simon a third bite of the cherry, following the Simon & Garfunkel years and a glittering 70s solo career. It may well stand as the pinnacle of his remarkable half-century career. Simon recently admitted that he felt that the album’s title-track was the best song he’d ever written. 
With the furore surrounding the recording of Graceland, the sheer quality of this groundbreaking record is too often overlooked. And just to qualify: Simon may have been naive and arrogant, but he did not break the cultural boycott when he went to record in apartheid South Africa. 
What he did was embrace the music of that troubled nation and put it on a world stage. Marrying the ebullience of township jive to his own innate pop sensibilities, Simon fashioned a record which was truly, blindingly original, and – listening to it a quarter of a century on – modern and timeless.
In truth, the audio disc of this anniversary edition disappoints, primarily because Paul Simon is a notoriously painstaking writer; what inspires him ends up on the finished album. So extras here extend to five demos of Graceland titles – three of which were available on the album’s 2004 reissue (You Can Call Me Al and Crazy Love are new, but instrumental) as is Simon narrating The Story of Graceland. Also included is the engrossing documentary Under African Skies, which follows him back to a liberated South Africa. 
Forget the boycotts and controversy, and marvel once again at the magic that Simon conjured up on Graceland.
Patrick Humphries / BBC Review

Saturday, 9 February 2019

Leon Vynehall ‎– Nothing Is Still (2018)

Style: Ambient, Downtempo, Deep House
Format: CD, Vinyl
Label: Ninja Tune

01.   From The Sea/It Looms (Chapters I & II)
02.   Movements (Chapter III)
03.   Birds On The Tarmac (Footnote III)
04.   Julia (Footnote IV)
05.   Drinking It In Again (Chapter IV)
06.   Trouble - Parts I, II, & III (Chapter V)
07.   Envelopes (Chapter VI)
08.   English Oak (Chapter VII)
09.   Ice Cream (Chapter VIII)
10.   It Breaks (Chapter IX)

Cello – Amy Langley, Jessica Cox
Flute – Finn Peters
Piano – Sam Beste
Saxophone – Finn Peters
Strings – The Dirty Pretty Strings
Written-By – Leon Vynehall, Ralph Vaughan Williams
Arranged By -  Amy Langley
Recorded By, Engineer, Producer – Leon Vynehall

Every time Leon Vynehall releases new music, you’re guaranteed a fundamental level of coherence. The British producer is a quiet, cerebral guy, and his long-form statements communicate rich themes and a solid sense of structure even though they’re largely wordless. His 2014 breakthrough, Music for the Uninvited, explored house music’s queer history and Vynehall’s own childhood memories, like his mom’s handmade mixtapes and N64 games. Sultry follow-up Rojus, from 2016, used ornithological samples to trace the arc of a single night out dancing. 
On Nothing Is Still, his first studio album for venerable UK label Ninja Tune, Vynehall mines a piece of family lore: his grandparents’ emigration from England to New York City more than 50 years ago. But instead of using the story to frame another collection of jazzy, humid club cuts, Vynehall changes course. More deliberate and expansive than any of his other releases, the album moves beyond the dancefloor by incorporating traces of ambient and modern classical music. 
Nothing Is Still isn’t a radical reinvention—it relies on the same sumptuous palette Music for the Uninvited and Rojus used—but it does deconstruct Vynehall’s established sound. The parts that make up lengthy bangers from earlier in his career, like “It’s Just (House of Dupree)” and “Blush,” are distributed across multiple songs, forcing you to focus on individual elements: the breathy sax drifting through “Movements (Chapter III),” the lusty grunts peppering the woozy “Drinking It in Again (Chapter IV),” the disorienting throb of “English Oak (Chapter VII).” Although it’s less engaging on a track-to-track basis, this approach yields an album that works through a much wider spectrum of emotions. Rojus was supposed to soundtrack an evening from start to finish, but it ended up hanging in place like a thick fog; Nothing Is Still swells and recedes. At its most intense—like the menacing second half of centerpiece “Trouble - Parts I, II, & III (Chapter V)”—the record can hit you like a punch to the back of the head.

That trade-off between moment-to-moment scintillation and holistic satisfaction is the crux of Nothing Is Still. It’s designed to reward a degree of investment that goes beyond the passive listening experiences that define the streaming era. Vynehall described Rojus as “functional club music,” a phrase that gets at that record’s strengths: Each of its tracks can be isolated and embedded within a marathon DJ set. It’s hard to come up with a similar phrase that cuts to the core of Nothing Is Still—a “multimedia narrative experience,” maybe. (The album is being released alongside a series of short films and a novella co-written by Vynehall.) That’s a much less evocative set of descriptors, and its hollowness reflects this album’s higher degree of conceptual complexity. 
The implicit connections between Vynehall’s compositions and his grandparents’ move to America are what make Nothing Is Still sparkle. The graceful, swelling strings of opener “From the Sea/It Looms (Chapters I & II)” suggest the ebb and flow of a transatlantic voyage. Interludes “Birds on the Tarmac (Footnote III)” and “Julia (Footnote IV)” evoke the sonic clutter of a Manhattan morning—doors opening and closing, cash registers ringing, scraps of conversation—with layered, repeating passages reminiscent of Steve Reich. And after subjecting listeners to the anxious, noisy climaxes of “Trouble” and “English Oak,” Vynehall doles out a treat: the stunning “Ice Cream (Chapter VIII),” which starts as a play on the Field’s looping reveries and ends with birdsong layered over crashing waves of sound. The track feels like walking from the park down to the shore with a soft-serve cone, letting yourself be soothed by the rhythm of the tides. 
I spent much of my time with Nothing Is Still thinking about a recent sonic statement of purpose by Vynehall’s contemporary, Sam Shepherd, another young British producer who imagined himself moving beyond the club sphere. 2015’s Elaenia, the first full album Shepherd released as Floating Points, found him making a sharp left turn from the house and techno of his early EPs into tranquil ambient jazz and piano impressionism. It felt like a slab of music meant to be digested as a whole; it wielded silence and texture instead of groove and melody. 
Shepherd and Vynehall seem too progressive to believe that an association with dance music has somehow limited their prestige, but it’s also easy to imagine either of these bright, ambitious, insatiably curious artists wanting to do more than making people move. Like Elaenia, Nothing Is Still invites the listener recalibrate their expectations of the artist behind it. Vynehall is more than a producer with a great ear for texture and a nostalgic streak—he’s a storyteller, one who demands and merits our full attention.
Jamieson Cox / Pitchfork

The Boo Radleys ‎– Everything's Alright Forever (1992)

Style: Indie Rock
Format: CD, Vinyl
Label: Creation Records, Columbia, Intercord Record Service

01.   Spaniard
02.   Towards The Light
03.   Losing It (Song For Abigail)
04.   Memory Babe
05.   Skyscraper
06.   I Feel Nothing
07.   Room At The Top
08.   Does This Hurt?
09.   Sparrow
10.   Smile Fades Fast
11.   Firesky
12.   Song For The Morning To Sing
13.   Lazy Day
14.   Paradise

Bass – Tim Brown
Drums – Rob Cieka
Guitar – Martin Carr
Vocals – Sice
Lyrics By – Martin Carr
Music By – The Boo Radleys
Producer – Ed Buller, The Boo Radleys

First up is the second album by 90s schizophrenic-pop scousers The Boo Radleys. Everything’s Alright Forever was followed by the experimental psyche-pop classic Giant Steps (NME Album of the Year 1993) and the poptastic (and UK no.1 album) Wake Up! (1995). These huge successes easily take precedence over the sophomore effort that is our subject but it should not be overlooked. 
The Boo Radleys, though claiming from day one to have their sights set on competing with Madonna in the pop charts, began life indier-than-thou. Indie at that time (1990) meant either baggy indie-dance – yer Mondays, Charlatans etc. or else post-Isn’t Anything, effects-pedal-centric, ethereal indie a la Ride, Lush, Pale Saints et al. The Boo Radleys were firmly ensconced in the latter camp – the camp that, for better or worse, became known as shoegaze. Their debut album Ichabod and I created few waves but eventually they managed to find themselves at Creation Records and ready to take on the world. Creation had already got Ride and Primal Scream on Top of the Pops so surely it was time for The Boos. 
After spending a year and a half seemingly mastering the art of the 12″ EP (managing 16 songs across 4 of them) they finally got round to releasing a second full length effort in the shape of our 14 track album here in question. With that total of 30 songs in just over a year you might expect some filler in the grooves of Everything’s… but beyond a single “atmospheric” intro there is little that comes close to disposable in the 50 odd minutes. The casual listener might observe a band ticking all boxes in the shoegaze manual, but closer examination reveals so much more. Invention and experiment lie at every turn. It’s as if, rather than just attempting to create the finest record of an existing scene, they instead fight relentlessly to escape it’s clutches. By their next album of course, they indeed escaped – escaped and soared magnificently free as a bird, but here they satisfy themselves with stretching shoegaze to it’s absolute limits. 
Although The Boo Radleys were very much a band, the central vision was driven by guitarist and songwriter Martin Carr. Eventually he would expand the band’s sound beyond that of the traditional rock lineup, but here the sound is driven chiefly by his persistent obsession with the possibilities of the guitar. One recurring theme (though with enough variation to keep it from becoming tiresome) is that of the ever louder guitar. Just when you think a song has peaked, in crashes a fresh Rickenbacker trying it’s damnedest to destroy another up-to-11 amp. The spectre of MBV inevitably permeates much of the action but like the early washes of a watercolour landscape it becomes largely background to more striking elements of the whole picture. There is much use of Fender’s patented Floating Tremolo providing the Loveless-style seasick guitar swathes but more often than not, these are blitzed by a ghostly swoop or squalling scream channelling J Mascis far more than Kevin Shields.

There are clues to the band’s future littered across the album but the most obvious is the blatant ambition on show. It’s an admirable devil-may-care attitude that displays a willingness to let things to go wrong. It’s as if they knew this wasn’t going to be their masterpiece so they could take risks if they liked. The track running order is questionable – it takes a good few songs to even establish where they are going – and they show little regard for traditional song structure. Typically you might be faced with a longish intro followed by a single verse and then a massive, ever-growing guitar melee in lieu of a chorus that never materialises – and all under 2 minutes. Next up might be 6 minutes of slow grind with a single vocal line repeated throughout. In further contrast, there are gentle moments, though often fleeting, when guitars are stripped to pastoral acoustic warmth, only to be drowned, without notice, in a rain of Psychocandy distortion. 
It would be fair to say that words here are rarely the key. Often simple repeated fragments, lyrics seem chosen as much for the sound of their syllables as their meaning. When select phrases do push through they appear to be reasonably astute observations on youthful inter-relations. However their value (and perhaps more of their meaning) is derived more auspiciously via a string of exquisite melodies. More importantly again, those melodies offer a conduit to showcase the truly angelic voice box of singer Sice Rowbottom.

But there’s more than pretty singing and a butt load of guitars making this record such a success. Regularly, the cataclysmic layers of sound verge on the chaotic but the drums of Rob Cieka and bass of Tim Brown are so on the money that things never collapse into the abyss. Both may often become almost drenched in the mix, but still they somehow remain a reliable backbone. Never satisfied with simply fulfilling the brief though, there’s an imaginative flair to the drums throughout and, with lyrics so sparse, the bass puts in perhaps the most melodic performance of all. 
Ultimately, this is The Boo Radleys before they found their own sound. But the genre in which they were working struggles to contain their bountiful creativity. Eventually ending up as part of the Britpop story, they have more right to the title “Beatles of the 90s” than most. Oasis endlessly regurgitated 4 or 5 Beatles or John Lennon songs. The Boo Radleys, though obviously Beatles fans, instead inherited their spirit of fun, originality and most notably experimentation and created a whole new vision of their own. Everything’s Alright Forever is pregnant with that vision.
Jonathan Wallace / The Thin Air

Tuesday, 5 February 2019

Herbie Mann ‎– Yardbird Suite (1957)

Genre: Jazz
Format: CD, Vinyl
Label: Savoy Records, King Records, Musidic

1.   Green Stamp Monsta!
2.   World Wide Boots
3.   Yardbird Suite
4.   Here's That Mann
5.   One For Tubby
6.   Squire's Parlor
7.   Who Knew?
8.   Opicana

Alto Saxophone – Phil Woods
Bass – Wendell Marshall
Design – Nancy Greenberg
Drums – Bobby Donaldson
Flute, Tenor Saxophone – Herbie Mann
Guitar – Joe Puma
Reissue Producer – Bob Porter
Vibraphone – Eddie Costa
Producer – Ozzie Cadena

Recorded in the great year of music and especially jazz -- 1957 -- Herbie Mann at the time was gaining momentum as a premier flute player, but was a very competent tenor saxophonist. Teamed here with the great alto saxophonist Phil Woods and criminally underrated vibraphonist Eddie Costa, Mann has found partners whose immense abilities and urbane mannerisms heighten his flights of fancy by leaps and bounds. Add to the mix the quite literate and intuitive guitarist Joe Puma, and you have the makings of an emotive, thoroughly professional ensemble. The legendary bass player Wilbur Ware, who in 1957 was shaking things up with the piano-less trio of Sonny Rollins and the group of Thelonious Monk, further enhances this grouping of virtuosos on the first two selections. Ware spins thick, sinuous cables of galvanized steel during the Mann penned swinger "Green Stamp Monsta!" with the front liners trading alert phrases, and into his down-home Chicago persona, strokes sly, sneaky blues outlines surrounding Mann's tenor and the alto of Woods in a lengthy jam "World Wide Boots." Bassist Wendell Marshall and drummer Bobby Donaldson step in for the other six selections, with three originals by Puma set aside from the rest. "One for Tubby" (for Brit Tubby Hayes) has Mann's flute in a gentle tone as Woods and Costa chirp away while keeping the melody going. The midtempo bopper "Who Knew?" (P.S.; the phrase was coined long ago before its contemporary hipness) is shaded by Costa and deepened by the colorful saxes, and the excellent "Opicana," is a complex and dicey chart, showing the most inventive side of this group and Puma's fertile imagination. You also get the quintessential bop vehicle "Yardbird Suite" with the classic flute and vibes lead spurred on by the alto talkback of Woods. An early version of the enduring, neat and clean bop original "Squire's Parlor" from the book of Woods in inserted. Costa's "Here's That Mann," brims with swing and soul from the perfectly paired, harmonically balanced saxes, demonstrably delightful as the horns, especially the celebrated altoist, step up and out. This is not a complete reissue from the original Savoy LPs The Jazz We Heard Last Summer and Yardbird Suite. One wonders why more tracks could not be included as the CD clocks in at 50 1/2 minutes. As is, this is a solid document of all of the participants' burgeoning skills, and increasing cache as modern jazz masters.
Michael G. Nastos / AllMusic