Few have clues as to how 's and coaxed the reclusive pianist/composer into their Linear Labs studio. In 1973, he issued a lone album for . Titled , it showcased the pianist's seamless meld of Latin soul grooves, hard bop, and deeply spiritual psychedelic jazz-funk. Quickly deleted due to label mismanagement, a disappointed toured with , then returned to school and became a Hollywood film editor. In 1998 he privately issued , a partial soundtrack for his epic musical theater work Boys from North Broadway, about a pre-World War II working-class neighborhood. The eight jams here were co-composed by , , and . The producers enlisted a studio cast that included horn and string sections. While appears on a range of instruments in all cuts, plays bass or synth on half. Opener "Sabor del Ritmo" is derived from the Afro-Cuban bolero form with slowly pronounced piano montunos, swaying horns, and flute supported by hand percussion and drums. It becomes a swinging salsa halfway through as abandons arpeggios to pulse the beat in the high register. The pianist initiates "Altitude" with a complex vamp. adds spiky guitars, a sensual bass pattern, and a hyperactive marimba playing between the beat as the rhythm section and strings deliver an expressionistic lyric melody. "White Buffalo" walks a jittery line between cinematic urban soul (a la ), West Coast orchestral jazz (think ), and funk across Latin grooves, post-bop, and funk. plays a hyperactive rhythm on marimba, then colors it with electric guitar. "Trucha" is a set highlight composed of hard, danceable Latin funk, adorned by a pulsing electric bassline from under 's meaty, polyrhythmic pianism as 's vibes and guitar add textural dimension to tenor, alto, and two baritone saxes with two trumpets and a smoking flute (the latter sounds like a cross between the styles of , whom knew and gigged with). The syncopated rhythms and synced harmonies are breathtaking. Contrast it with the easy cha-cha of "The Gardens," the most beautiful track here. The breezy interplay between 's flute, piano, percussion, and relaxed horns is infectious, and remains so as the tune transforms into a mambo. "El Cambio Es Necesario" melds son, jazz, and funky Latin soul, with sweeping horns, wah-wah guitars, a bumping bass, and an army of percussion. They collectively prod the horns in alternating waves of swing and contrapuntal conversation. There are no substandard cuts on . While tracks such as "73" and wild closer "Calo" are more chaotic and free-form, they fold into the joyful aesthetic created by . This is one of the label's standout releases due to its sophisticated charts, engaged, kinetic ensemble play, and complex yet accessible compositions. ~ Thom Jurek