When plays his distinctive tenor saxophone, one cannot help but think he is a direct disciple of , , and . His edgy, dour, and dynamic sound retains a verve, control, and balance that many free improvisers cannot claim. This effort is inspired by the same spiritual precepts from India that inspired in his later life, resulting in long drawn-out discourses that emphasize expressionism rather than pure melodic invention. Fans of this style expect nothing less, and when teamed with Top Five bassist , the veteran drummer , and the always innovative and diffusely rendered guitar of is able to cut loose whenever he feels the need, which is generally always. The opening goes from a brief blues swing to furious free bop, accented by the ever growing persona of as a uniquely driven guitar master. Even at 18-plus minutes, keeps an even pace and controlled tone, neither crossing an abstract nor distorted line. 's deft ostinato in 6/8 time gets the ball rolling, while and construct numerous call-and-response clips of chatty vocal-like sounds. Everyone gets a substantial solo, with at the top of his game and using his bowed bass to haunting effect. The three-part suite develops from clarion calls to arms, switching from short melody bursts to solo tenor, silence, and a hard bop coda. The most arresting jazz-oriented piece, is based on a precept perfected by in its approximate note unison from , leading to hard free bop. One changeup includes the ballad where 's fluid dynamics and terse but not abrasive style are showcased fully, with entering later. The other -- -- is perhaps the most multiethnic piece, as plays the mbira/kalimba/thumb piano aside 's bowed harmonic overtures, darting and dancing, or calmly meditative. Those who enjoy the music of can easily relate to this excellent recording of his new music concept, backed by equally extraordinary players who perfectly understand his vision and purpose. ~ Michael G. Nastos