's 1961 recording is both a smorgasbord of modern jazz styles and a breakthrough album showing the Detroit born trumpeter's versatility and interest in diversity. At age 30, turning down offers to teach and a full decade before turning to commercial funk fusion with his , , alongside a wonderful collection of jazz professionals, proves his mettle as an individualist while also stylistically straddling the blurred lines of jazz. Where his brass tone is very lean and toned, he does not resort to outlandish outbursts into the ionosphere, but shows a refined yet daring approach removed from his predecessors or peers -- and in particular. With tenor saxophonist , a very young pianist , drummer , and bassist tackles different flavors of jazz with a voracious appetite, and delivers a very fresh perspective from them all. From Column A -- soul junction -- comes straight from the bag, an original funk with , and head noddin' to the band. Column B's is all straight-ahead hard bop, lighter but not wimpy as play well together. The more modal is still in the hard-to-post-bop mold, but has a two-note base until the horns burst out with a rich melody. The title track spectacularly represents the so-called "new thing," a tone row-based, searching, or clarion-type spontaneous improvisation where the band is purposefully set apart from the inventive drumming of in a firmly non-established meter. Romance is also on the menu via the no frills ballad as serenely leads the band into a curtain-closing venture into tenderness, with 's underlying chords something to truly behold upon close listening. This may be close to 's best early work, a strong statement that is by no means homogeneous, but expresses many of the avenues in jazz he was exploring while finding his own unique voice on the trumpet. [The 2004 remastered edition includes a bonus cut in 's finger-poppin' ] ~ Michael G. Nastos