Reed writes eloquently and touchingly about his religious faith in his lengthy album essay. The son and grandson of devout Christian preachers, he says he was sidetracked at first by, “the industry of music versus the creation of music”. This album seeks to address that disparity of intention through a series of thoughtful, often moving selections, both original and by others. Reed opens with the title-track, a pared-down blues line played over Gurrola's bass at walking pace. Spare, but effective. Some pieces can seem solemn, viz the delightfully unhurried reading of Freddie Hubbard's ‘Up Jumped Spring’ with Green's plaintive alto at its centre, Hunter building tension toward its end. Then again, Green soars, as does Reed, both men impassioned, on ‘Cedar's Waltzin'’ for Cedar Walton, whose ‘Martha's Prize’ follows. McCartney's ‘Yesterday’, quietly chorded, morphs into a slow-burning version of Kern's ‘Yesterdays’ before reverting to the McCartney song in a gospel makeover. Reed's reflection on Bud Powell, ‘Dear Bud’, is cleverly voiced to convey both Powell's keyboard brio while hinting at the underlying tragedy of his life. Reed's limpid keyboard carries Coltrane's ‘Naima’, again with Green in stately mode. ‘New Morning’, written after a friend died, also evokes Reed's gospel upbringing, Green's keening, pure-toned soprano carrying its uplifting theme. As can be discerned, this is by no means just another post-bop blowing session, rather a series of insights into the personal philosophy and settled mind of a superb pianist and improviser.