An added poignancy in this music comes from the fact that pianist-composer Bergman, who is little known, if at all, in Britain, passed away in October 2012, to relatively little fanfare. Yet he had been active since the mid-1970s and recorded with such luminaries as Evan Parker, Oliver Lake, Ivo Perelman and John Zorn. Technically, Bergman was a marvel. The independent movement of the pianist's right and left hands was quite astounding and it makes this quartet something of a virtual quintet such is the distinctive sound emanating from each side of the keyboard. With partners of the calibre of Jordan, Parker and Wimberly it is hardly surprising that Bergman pushes at the outer limits of velocity and density, and the torrents of notes streaming out of lengthy pieces such as ‘Chasin’ The Train' should appeal to lovers of Cecil Taylor and the ‘New Music’ school in general. Yet Bergman also has a deeply romantic slant to his character that takes him towards Ellington at his most contemplative, reminding us in the process that the Duke could do fractious fingering as well as anybody else. Two sumptuous ballads, ‘Soundcheck’ and ‘When Autumn Comes’, provide intensely moving counterpoint to the ‘energy’ tracks. The former has a similar emotional depth and wily harmony to Mingus' ‘Goodbye Porkpie Hat’, though the titular headgear might have an especially provocative curl in its brim.