This is a startling deviation from the finely tuned precision of Holland’s ensembles, previously represented on the ECM label, Universal and his own label, Dare 2. Yes, the electric energy that pulsates through this album is bound to evoke memories of his role with Miles Davis in helping the trumpeter negotiate a path between jazz and the tone colours and rhythms of rock in the late-1960s and early-70s, but closer listening reveals an album informed as much by post-Miles developments in hip hop and rock. Like Miles Davis himself, this is a deft change of musical backdrop that provides a framework for the soloist’s art. Eubanks takes a leading role, effectively framed by Holland’s authoritative bass and Harland’s dynamic, yet easy flexibility on drums. Taborn’s ability to change the sonic climate from electric piano to acoustic piano with equal conviction reveals what an accomplished musician he has become since his straight-ahead debut back in the day with the original James Carter band. Ultimately, however, this is a less surprising turn of direction, rather than the reflection of Holland’s musical curiosity, undimmed in his late sixties, of what jazz can be, rather than is.