Flautist-composer Mitchell's substantial quantity of releases has been matched by quality, and this is no exception to the rule. Again in a drummer-less setting she proves that her breadth of artistic vision, as well as command of her instrument and ability to harness strong personalities without constraining them, can produce outstanding results. With its dual reference to a meditative state that can be achieved by extreme focus as well as runaway slaves who fought colonial masters in the Caribbean [Jamaican maroons] the music is marked by a tender contemplativeness as well as muscular momentum which makes the absence of a percussion instrument anything but a problem. One of Mitchell's great sources of inspiration, James Newton, made excellent recordings with cellist Abdul Wadud and pianist Anthony Davis, and there are passing echoes of that vocabulary, yet the additional element that Mitchell has in her line-up, New York-based Trinidad-descended vocalist Fay Victor, is decisive, to say the least. Her distinctive, commanding tone, stealthy phrasing and seamless transitions from singing to spoken word contribute to the overall sense of fluidity in the music, where strong melody can open out into thrilling collective improvisation. The solos that come in and out of the spotlight, none more so than Mitchell's flute on the epic ‘A Sound’, are integral to the character and conviction of the work, which is a quite compelling statement, culturally, politically and musically.