Norman Granz revealed there was no problem getting Pass into a studio, but once ensconced the great guitarist would happily play everyday if coaxed. One has a feeling that Joe (or perhaps his producer, Hans Georg Brunner-Schwer) was looking to expand his audience with a scatter-shot programme that stretches from chestnuts ‘Chloe’, ‘I Cover The Waterfront’ and ‘Stompin’ At The Savoy’ to ‘Ode To Billy Joe’, ‘Lil' Darlin'’ and a spot of bossa nova, with ‘Meditation’. More a routine workman-like session rather than one that stretches the participant: Eberhard Weber and Kenny Clare aren't pressured and remain in the background. Truth be told, I've enjoyed Joe on much more inspired days.