A slippery one, this. The technical expertise of the two musicians is not in doubt. Zeitlin has worked with the likes of Joe Henderson, Pat Metheny, Herbie Hancock, Charlie Haden and Tony Williams; Marsh too is firmly established, with a biog that features such names as John Abercrombie and Terry Riley. As we might expect, Riding The Moment is, in places, a successful piano and drums album, underpinned by a clear sense of history: as Zeitlin says in the liner notes, the album's roots go back to his work combining jazz, classical, funk rock and free-form music in the late 1960s, when the drummer was one George Marsh. But though I have no particular allegiance to the piano or to acoustic music in general, Zeitlin's moves to other keyboard instruments tend to jar. It isn't that his parts are poorer, necessarily; it's simply that the sounds are, to these ears, rather naff.