This release has long been considered 's acknowledgement to the flourishing youth-oriented subculture from whence the collection takes its name. Certainly the Grammy-winning cover art -- which depicts as a World War II French revolutionary toting an automatic weapon -- gave the establishment more than the brilliant swinging sounds in the grooves to consider. became 's penultimate studio album, as well as the final release to feature the '60s quartet: (tenor sax), (drums), and (bass) behind (piano). One of the motifs running throughout 's recording career is the revisitation of titles from his voluminous back catalog. The tradition continues with the autobiographical leadoff track, The instantly recognizable piano lines are delivered with the same urgency and precision that they possessed over two decades earlier when he first recorded the track for . The presence of throughout the album is certainly worth noting. best captures the sacred space and musical rapport that he and shared. Each musician functions as an extension of the other, creating solos that weave synchronically as if performed by the same pair of hands. Newer material, such as the playful -- named after the school 's daughter attended -- as well as the unbalanced hypnotism of asserts the timelessness and relevance of 's brand of . The disc ends as it begins with a new twist on an old favorite. -- who provides lyrics and vocals on -- recalls the hustle and bustle of the real and spontaneous underground Harlem jam sessions of the late '40s. It is likewise an apt bookend to this chapter in the professional life of . ~ Lindsay Planer