' debut solo recording after his tenure with Pharoah is a fine one. Teaming with a cast of musicians that includes bassist , flutist , , and (listed here as "Little Rock"), etc. ' patented yodel is in fine shape here, displayed alongside his singular lyric style and scat singing trademark. The set begins with a shorter, more lyrical version of ' signature tune with the lyric riding easy and smooth alongside the yodel, which bubbles up only in the refrains. It's a different story on his own with ' piano leading the charge and blowing through the center of the track, alternates scatting and his moaning, yodeling, howling, across the lyrics, through them under them and in spite of them. It's an intense ride and one that sets up the glorious This tune is at his most spiritual and uplifting, carrying the mysterious drift of his tune entwined with 's flute and a set of Pan pipes, fluttering in and out of the mix before his wail comes to the fore as a solo. The end of side one reaches into ' past (he sang with everyone from to and ) for a highly original read of 's classic imbues the tune with so much emotion, it's a wonder he can keep it under wraps. Side two is more free from in nature with a near rant, but one possessed with melodic vision and harmonic invention with this band. There's also the deeply moving a co-write between that features the latter's gorgeous blowing, hard and true in the middle of the mix, and a wildly spiritual Eastern vibe coming through in the improvisation. It's the longest track on the record, and one of the most criminally ignored in ' long career. The album closes with 's It's a shimmering straight number with a beautiful piano solo by . It sends out a visionary album out on a sweet, soulful note. Ultimately, this is among ' finest moments on vinyl, proving his versatility and accessibility to an audience who, for too long already, had associated him too closely with the . ~ Thom Jurek