Of all the post-Coltrane tenor saxophonists, arguably the most outstanding and least recognised must surely be Azar Lawrence. His youthful talents were instantly snapped up by Trane's drummer Elvin Jones who made him a member of his Jazz Machine. Then McCoy Tyner used him in some of his most exciting and adventurous quintets of the early 1970s. Azar was also an on-and-off member of Woody Shaw's Moontrane era bands, along with trombonist Steve Turre. Sadly his recordings are few and far between these days, but his playing now is even more passionate than before. This is an absolutely terrific album, recorded live at New York's Jazz Standard. You know it's live when individual solos are genuinely applauded, but strangely, and frustratingly, virtually every tune is just faded out for no apparent reason. Payton recalls Shaw at times and is an excellent choice as a calmer, contrasting front-line partner. And the rhythm section inspires and is inspired throughout, with Cuban pianist Benito Gonzalez (first introduced to us by Kenny Garrett) almost stealing everyone's thunder with some brilliant, strikingly Tyner-like hard-hitting solos, kicked along by Essiat's firm-toned bass and ‘Tain’ Watts' thunderous drums. Listen to the way in which Watts is particularly ultra-attentive to Payton's improvisations. The always-melodic compositions (all by Lawrence, apart from Gonzalez’ ‘One More Time’) are consistently of interest, with a modal feel prominent. The opening ‘Gandhi’ has a real snake-charmer theme, while ‘Lost Tribes of Lemoria’, the mythical lost continent, is in a spiritual vein that Trane would have loved. Another highlight is the only slow item, ‘Rain Ballad’ on which Lawrence plays excellent soprano. The other titles are thoroughly feisty and bring out appropriately fiery solos. With a conception and confidence that recalls very early 1960s Trane, Lawrence, with his ferocious passionate playing, deserves to become a national treasure. Unreservedly recommended.