Dividing lines between the so-called avant-garde and bebop were never set in stone and the very idea of a group that swings like crazy while spinning into the farther reaches of what is considered ‘out’, either in terms of harmony or meter, was given credence by a number of musicians in the late-1950s and early-60s. This combustible session from a group jointly led by Jimmy Lyons and Sunny Murray, both of whom were key collaborators of Cecil Taylor, shows that the flight from Bird and McLean to Ornette and Ayler could be a beautifully rewarding one. While the enormous fluidity of the pulse – the near constant alternation of purring, march-like snare and staggered toms – provides the music with its supple backbone, the bass makes a huge impact by way of its robust, almost manic semi-walking lines and aggressive pizzicato. Basically all three members of the group contrive to make their individual sounds shake their way into life, the result of which is at times a kind of speed flamenco that pushes Mingus' engagement with latin street music to a head-turning extreme. Above all, this turbo-charged performance is a reminder that jazz, regardless of whether it is filed as free or mainstream, can be a supreme deconstructionist art, where players with imagination simply will not rest until they've explored every last possible way of breaking down what they have built up before breaking it back down again. Differently.