While electric guitarist retains his signature ultra-legato, speed demon sound, he has added a couple of new wrinkles to this date. He's attempting to play some legitimate jazz standards, a couple of tunes, and other sidebar items. He's also working with the synthaxe, a synthesizer controller, on three cuts. The most revelatory moments of the date come from the acoustic sounding digital piano of , a true master whose be-bop chops and inventive solo work cements the legitimate jazz aesthetic into the fiber of this music. Electric bass guitarist (of ) and drummer work pretty well together, and swing, albeit in a more rock/R&B orientation. has a predilection for stating melodies very briefly before immediately going into a solo. This is most evident during 's where he tosses out the theme with nice chords, then rips into his distinctive flowing single 16th and 32nd note lines. is not all flash -- he comps frequently and tastefully, as on the well-played piece getting out of 's path as the pianist digs into an aggressive, melody drenched solo. A 6/8 take of is quite interesting, with 's modal piano chords and 's guitar melody working in opposing keys, adopting a sound closer to . The leader skates around the melody of with proving himself a superior, cliche-free improviser reharmonizing the changes. Synth dominates the trumped up, phony take of while a saving bass-led ( piece) in waltz tempo has shining on his sped-up improv from a slower introductory pace. Time and time again on this date he proves to be the true star. The remaining tracks are 's piano-driven, rather -esque contemporary Southwest landscape hard swinger and the synthaxe-oriented, three-note vamp of the title cut, with a more patiently constructed guitar solo at the beginning. is a speed freak, once and always, who cannot be tamed -- nor would his fans want him to. His multilayered, frenetic style is what fascinates his audience, but he is showing a need to calm down at times, and adopt different sounds aside from the single crystalline entity for which he is known. ~ Michael G. Nastos