American record labels had virtually given up on the jazz avant-garde by the time the second wave of ‘new wavers’ were hitting their stride. European labels like Black Saint filled the gap, recorded some great albums, and documented careers that may otherwise have stalled. Saxophonist David Murray benefitted more than most, and there have now been three 5CD compilations of the pyrotechnic firebrand's recordings for the Italian-based Black Saint and Soul Note labels. This 1981 album is the second of five Octet recordings the saxophonist made between 1980 and 1987 – the complete set was released in 2011. Murray's compositions take in twisty bebop and big-band slabs as well as hymnals, anthemic blares and shake-the-speakers improv. The opening ‘Home’ is a wrap-round ballad combining Mingus-like harmonies, Ellingtonian voicings and the breathy warmth of Henry Threadgill's bass flute. ‘Santa Barbara and Cranshaw Follies’ blends New Orleans march and bebop, two slow burns change rhythm and shape, and a march rumbles along to native American beats. Murray is at his blues-steeped, outgoing best, delivering jazz virtuosity and expressionism with the discipline of R&B, Olu Dara is spiky and bittersweet and there is a knockout Wilbur Morris bowed bass solo at the top end of ‘Choctaw Blues’. But this is a band album in essence, with strong themes and a score that spurs soloists to ever greater heights.