The well-schooled Kimbrough is regularly with Maria Schneider's Jazz Orchestra (as are Anderson and Wilson) and that should be recommendation enough. He's teamed here with three other stellar New York players in a relatively low-key – I'm almost tempted to use the word soporific – quartet outing. Most of the pieces, bar ‘Trouble Man’ by Kurt Weill, John Lewis' ‘Afternoon in Paris’ and the final ‘It Never Entered My Mind’, are by Kimbrough. All are graciously played, thoughtful in their intentions and outcomes and without too much fighting talk to disturb the peace. The Konitz-like Wilson, never a totally fiery player, concentrates on even-paced explorations rather than explosive outbursts, riding over Anderson and Nash's rhythmic pattern-breaking. The opening ‘The Call’ is cited as ‘an invocation, a call to listen’, and builds engagingly over Anderson's counter rhythms and Nash's nudges, Kimbrough eloquent and elegant in his extemporisation, Wilson sleek in pursuit, until it ebbs away. Kimbrough is always nimble, clearly relishing the mixed menu handed to him by Anderson and Nash, funkier on ‘Kudzu’ as is Wilson and perkier on ‘November, the album all the better for it. In contrast, the collective striving on the Weill tune seems to lack shape, Wilson's keening soprano its main adornment before the Lewis tune is given a near-free, skittering, stop-start reading. A mixed bag, as they used to say.