's second self-titled album (the first one came out in 1956 on the independent label ) was the idiosyncratic composer's first release in 12 years, and it shows how much 's already rich music had matured since 1957's . Where 's '50s records were -based, showcases the composer's orchestral side; producer assembled an orchestra of over 40 musicians from the and worlds (including flutist and bassist ), and although the pieces are quite compact -- ranging from the expansive three-part ballet suite to the eight-second spoken poem -- uses the expanded range of tonal colors and dynamics impressively. For someone who spent most of his career performing solo on a street corner in Manhattan, 's arrangements on pieces like the -canon's are not only admirably complex, but also richly melodic. Although is often thought of as a mere , thanks to the composer's eccentricities, it is, in fact, one of the finest albums of its era. The best-known track on this album, was the uncredited basis for dance DJ 's which was used in an extended series of minivan commercials in 2002. ~ Stewart Mason