There are many delights here and, given the relative unavailability of some of Walton's more lauded albums, it works as a valuable memorial to the pianist who died a year ago. It also constitutes a useful affirmation that the straight-ahead tradition was in rude good health, before Wynton Marsalis got his hands on it. Along with other Keystone Korner tapes recorded from the club's PA system, it has some rough edges soundwise but a tangible live feel that adds to the music's impact. The three Walton originals and three standards are all given lengthy workouts, with Berg doing his post-Coltrane thing and Hubbard (who plays on ‘Ugetsu’, ‘Impressions’ and his own ‘Byrdlike’) straining at the limits of his technique and his lip. The partnership of Walton and Higgins is of course unbeatable, but one shouldn't ignore the contribution of the group's sole survivor, ‘Happy’ Williams (the nickname acquired from our own Olav Vas). But the focus should be even more upon the invention, in solo and accompaniment, of the late lamented leader.