It seems appropriate that this legendary ensemble was recorded at its creative peak in France, as this was, after all, the country that gave succour to many members of the American avant-garde several years prior to this concert. The levels of energy of this gig are similarly high and the sheer ferocity of the horn section suggests that the likes of Pukwana, Parker, Grant, Osborne, Charig, Beckett and the little known Malfatti were breathing fire on stage. In the moments of maximum combustibility, the whole band makes every note of every phrase of every chorus something of an event in itself, with crescendo following crescendo amid joyously entwined counterpoint. But the confrontational nature of the whistling high harmonics is contrasted by the seductive sway of major key South African melodies that pepper the writing. The point is that these more obviously romantic moments are not overly sweetened but given a sharp edge by the drive of a rhythm section that is still liable to push on and off the pulse with a mighty demonic force. This is dance music. For those not scared to dance.