As an exponent of , uses a sound on his stritch, saxello, and sopranino saxophone that has a sour, bread-like taste, slightly askew, brimming with life. He's pushing the harmonic envelope while remaining tuneful. For this date, , longtime pianist for , is on the organ, an instrument he has rarely recorded with. His approach is very different, more patient, expansive, mellow. Chords linger, burn is minimal. Drummer , son of the late drummer , more than follows in his fathers footsteps, he's circling them, making his own mark as a fine jazz rhythm maker. Of these ten selections with eight originals by , there's a seething-under-the-surface quality, nothing outrageous, but reverent and patient, as if the trio is waiting for the spirit to pay them a visit rather than endlessly searching for it. Several easy grooves appear as on with slight bossa nova inferences, or the waltz where a sopranino's cocooning melody becomes a large butterfly. The title track and have more church-flavored overtones, the former with dual woodwinds played a la , the latter with 's Sunday morning-informed groove spurred on by two-note horn lines from trombonist and trumpeter . The brass duo also shows up for for ' previous bandmate and a alum, the late pianist , whom this CD is dedicated to. On this solemn ballad, the horns echo pain and sweetness in a melody quite similar to 's Best cuts are the lowdown blues stroll the Afro-Cuban-tinged arrangement of the standard and a roaring, hard bopping with a distinct Native American-metered coda. The ballad take of is also unique in that it takes the angularity of the melody and tilts it more askew without damaging its original intent, a refreshing interpretation. is on to something here. Hopefully the organ trio concept is not a one shot, but with the demonstrated fertile mind of the leader, it's likely he'll continue to try different combinations of musicians. This triad hit the K spot. Recommended. ~ Michael G. Nastos