In 2020, former guitarist released the stellar instrumental jazz-funk outing , his first album in a decade. was never really idle: He amassed hundreds of credits for everything from production to songwriting to playing, but he maintains a relatively low profile. marks the debut of his new quartet with keyboardist , bassist , and drummer . This instrumental ten-song set dialogues in jazz-funk, soul-jazz, prog, and funky rock with swagger and a relaxed immediacy. Opener "Shark Skin Suit" is guided by a bubbling Hammond B-3 framing a synth vamp appended by fuzzy, strutting guitar that delivers meaty blues and R&B riffs atop the rhythm section's swinging groove. 's solo crisscrosses R&B, jazz, progressive rock, and spidery R&B. It segues into the second single, "Samosas & Kingfishers." A modal Middle Eastern vamp is offered by organ, then underscored and appended by emulating the sound of a sitar. As rumbling tom-toms and fretless bass add dramatic circular rhythms, follows onto the ledge and begins drifting into psychedelia on his slide. The trio shifts gears as solos on electric piano in direct response to 's loping bassline. offers taut, emotionally satisfying fills and accents. The intro to "A Day in L.A." recalls the -penned theme to the TV comedy Sanford and Son in the intro. The lithe swing illustrates contemporary jazz-funk. 's multi-textured solo punches through the mix playing jazz and blues licks with a slide. "Kilzoni" is a set highlight. 's jazz-rock chops bridge the fusion ambitions of ' with 's . While hinge track "Contrary Motion" is almost a straight-ahead rocker, "Never Say Never" is adorned by a funky shuffle driven by and and a sparkling electric piano solo. stretches to provide psychedelic funk through the melody. While "Bouncy Betty" is a bumping soul-jazz stroll, "Ricochet Rabit" draws on 's elegant influence in 's elaborate chord voicings. sits at an acoustic piano and swings the rhythm section hard. Closer "Math Problem," juxtaposes driving guitar funk, prog rock, jazz syncopation, and harmonic interplay between organist and guitarist, flanked by breaks from . The bassist, followed by the frontline, dislocates the harmonic center moving toward the kind of groove-centric freedom articulated by . is hip, relaxed, and confident. The quartet sounds like they're having an exceptionally good time and that translates to aural gold for the listener. ~ Thom Jurek