Strings was first issued on Milestone (MCD 9326 2) two decades ago. Its reappearance now is welcome in that it passed me by originally. Happily, as booklet writer Bob Blumenthal states, it is a triumph. Bar two pieces out of eight, all the music is Snidero’s, including the three-part ‘River Suite’, the altoist explaining that he picked and contracted the personnel himself, so the whole project is decidedly personal.

He also adds that it was due to have been recorded on 9/11, and that it was eventually taped just a few weeks later is ‘a testament to the resilience of New Yorkers in general and these musicians in particular.’

Make of that what you will: it’s the music that counts. Its sweep is immediately impressive, with the composer’s nimble alto improvisations a key element in its success. He’s a well-established New York musician, often noted in big bands and with an impressive series of ‘name’ albums to his credit. Broadly a pleasing fusion of Parker with Desmond in style, he’s a busy, confident player, this outing far more than just another ‘with strings’ enterprise, the then-married duo of Rosnes and Drummond an active and valuable presence. His ‘Slippin’ Away’ in 3/4, opens, its perky melody well-handled and effective, while ‘Theme for Ernie’ by Fred Lacey, is calmer, prettier even, alto foremost, the ideas properly formed and graceful, the strings well-drilled and shapely, Rosnes’ agile piano figures an added pleasure.

‘Forever Gone’ is plaintive, Rosnes and Gill given space, the string writing almost ethereal. ‘River Suite’ is clearly the album’s centrepiece, enlivened in its first part by superb flute from Snidero. Yes, a triumph, for sure.