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1. "Opening" (16:19) there is a lot of textural experimentation over the course of the first four minutes--mostly coming from Jack DeJohnette's drums, a little from Dave Holland's bass play, while John Abercrombie takes quite a long time to introduce and then his very heavily-treated electric guitar (chorus, reverb, delay, and echo--thankfully no distortion). Amazingly the song maintains a rather steadily-increasing trajectory of development throughout the song--even managing to make a lot of noise with their highly-sophisticated weave (a weave that reminds me of peak-era 1980s Pat Metheny Group). Then the solos start in the second half with Dave's cymbal-supported bass solo occupying the eleventh and twelfth minutes before John and Jack jump forward to boost the energy: really complementing and augmenting Dave's continued buoyant enthusiasm. In the second half of the fourteenth minute Dave and John's play begins to stagnate and then fade (in volume) in order to make way for a sophisticated (as opposed to a showy or extra-dynamic) drum solo from Jack. All hands go to delicate mode for the wind chime bells finish. Cool song! Not what I expected from that long disorganized intro. (27.75/30)

2. "Reminiscence" (4:36) the boys here exploring their personal and rather separate improvised ruminations on Rodrigo's Adagio from "Concierto for Aranjuez." (9/10)

3. "Sing Song" (6:57) structured like a "Tea for Two" waltz using a sound palette that would become quite prevalent for the more traditional guitar jazz songs on Pat Metheny albums for that artist's entire career. I mean the sounds and stylings of all the musicians here are remarkable for sounding so close to those of Pat, Steve Rodby, and Paul Wertico! Beautiful and masterful. These guys know what they're doing even if the results aren't as dynamic as those of the Power Fusion bands like The Mahavishnu Orchestra, Return to Forever, and Eleventh House. (13.5/15)

4. "Nexus" (7:58) an unusual song that is rendered almost Third Stream Jazz-Rock Fusion for its David Torn-like guitar sounds and phrases used by John Abercrombie. I find it interesting that the most controlled and unexciting musician here is also the song's composer (Dave Holland). (13.75/15)

5. "Blue" (8:14) for this song Jack gives up his drummer's stool for the piano bench, playing the lead work while Dave and John respond and react to his musings. The song starts out as if Jack is trying to challenge and trick the others but then they seem to fall into line with forward motion for a while. Then, at the five-minute mark, Jack's collaborators step aside to watch as Jack solos, but they're soon back offering quite minimal/subtle support (Dave with his bowed bass). The music is quite lovely and evocative of many emotions and memories: some pastoral, some psychological. I like this very much but it is not background music. (14/15)

Total Time: 44:01

The jazzier side of Jazz-Rock Fusion is here anchored in Jack DeJohnette's very classically-conservative jazz drumming as well as Dave Holland's clear adherence to traditional jazz bass sounds and stylings. Even John Abercrombie's electrified guitar is well-within the sound traditions of past guitar masters from the 1960s like Barney Kessel, Charlie Christian, and Wes Montgomery.

A-/five stars; another masterpiece (though of the minor type) from this trio of maestros. When you get three of the finest craftsmen of their particular instruments together, it feels as if expectations are raised, so it's nice when the band can deliver--as they do here.

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