There's something of Coleman Hawkins about Lovano: like the Hawk, he can swing and sing and mainline the blues in the great tradition: but, just as Hawk effortlessly embraced the new wave of bop, so Lovano can play as free as the wind, as challenging as you like. Douglas, likewise, refuses to be fenced in and so, in many ways, this is a marriage made in heaven as the pair move between free-flowing ‘out’ solos and tightly-tracked tunes. The compass that keeps the project securely anchored is Wayne Shorter, another free spirit, and the band have called themselves Sound Prints to resonate with the saxophonist's classic ‘Footprints’. So, it's no surprise that Shorter songs are to the fore, with Douglas rearranging ‘Fee Fi Fo Fum’ as a sure-footed vehicle for him and Lovano to spark in dialogue over Fields’ sparse chords, while Lovano revisits the timeless ‘Juju’, investing it with a luminescent looseness, buoyed up by Oh's bass. The frontmen describe Scandal as celebrating unity in divided times, and there's a screech and tangle here that reflects our divided world: but, just as ‘free’ music in the 1960s reflected anger and confusion yet also heralded liberty, so Scandal points the way to new frontiers.