O’Higgins is, of course, no stranger to the double tenor frontline: his two outings with Eric Alexander were formidable, with O’Higgins cementing, though he hardly needed to, his world class credentials as a straightahead tenor star. If Alexander though was New York tough, always edging to compete mano a mano with O’Higgins, then the collaboration with Ionata is very different. O’Higgins can blow hard, but this is a more nuanced partnership with Ionata. From the storming outset, as the pair twin the theme to ‘Fourplay’, this feels more like partnership and collaboration, a convivial conversation between two pals who respect each other, though that doesn’t mean they need give quarter to each other. The key though is that, despite their different intonation (O’Higgins retains a funk sweet spot), each is richly melodic. Indeed, it’s on the slower tunes, notably the sumptuously swinging ‘Satosong’ or the samba-tinged ‘Medication’ that the pair ally most subtly. And nor are Santaniello and Stanley here just to provide the bedrock for the stars to blow over. This feels very much like a band album, with Stanley getting as much space as the front men to stretch in, be it on the good humoured ‘Donna’ or the more urgent ‘Song for Cape Town’, with Santaniello’s deft touch on cymbals outstanding. And what a pleasure it is to have the organ high in the mix, and proper prevalence given to the bass pedals. Indeed, the intimate vibe of the music is enhanced by the live in-the-studio feel, with the quartet, sans headphones, recording the whole shebang in a single session (lunch included). Old school, but vividly alive. Tenors of and for our time.