Along with Uhuru Kwanza this is the other great orchestral work in Weston's discography. As was the case with the aforesaid, African rhythms as well as blues changes are at the heart of the American pianist's aesthetic and his deft ability to skip and swing in 6/8 as well as 4/4 ensures that the arrangements always have the underlying momentum that he absorbed from the big band era, when the likes of Ellington was his most inspiring role model. Although Weston has an avowed aversion to electric instruments, his use of the Rhodes is very effective for the additional afterglow that it casts against the cascading horn arrangements, which have the cinematic flourish you'd expect from the hand of Don Sebesky. There are also some highly imaginative sound effects, often discreet ostinato figures that sneak into the polyrhythmic thicket and appear as strange but beautiful birdsong or subtle, sometimes haunted crackles of the Machine Age. Yet, as is true of so much of Weston's oeuvre, the central sub-text is a celebration of the grandeur of African music and culture, and that is achieved in no uncertain terms by the stately nature of the themes as well as the intricacy of the beat that effortlessly carries them along.