In his liner note, Jure Pukl's former Berklee teacher Joe Lovano warmly endorses this sophisticated and melodically shapely session, built around two-tenor conversations between the ex-pat Slovenian saxophonist and his Chilean wife Melissa Aldana, and it's easy to hear why. The music is a lot closer to New York (Pukl's adopted home) than to European folk traditions, embracing quiet ‘Cool School’ linearity, bluesy Ornettish free-bop, and more recent innovations from Steve Coleman or Lovano himself, and the quartet's empathy is palpable. Pukl and Aldana play a collection of playfully cryptic pieces (and the odd smoky lament) in unison, call-and-response, warm harmony, and improvised polyphony – responding not only to each other, but to the interventions of brilliant young Milwaukee doublebassist Joe Sanders, while drummer Gregory Hutchinson is quiet, but inevitably influential. Six of the nine tracks feature Pukl's tersely or playfully fragmented motifs, which modulate, poignantly harmonise, or return to base via unexpected new themes. The others are by Sanders, Aldana (the fast-shifting, slightly Dave Holland-esque ‘Elsewhere’), and Ornette Coleman – whose ‘Intersong’ deceptively starts in a Lee Konitz/Warne Marsh-like twosax murmur before becoming the original's exultantly whooping dirge. Amazingly, and tellingly, the quartet recorded all this fluently close-knit music in a Slovenian studio in just three hours flat.