As an unerring devotee of the soprano saxophone Sam Newsome draws inevitable comparisons to Steve Lacy. He has a thorough command of the instrument and substantial ability as an improviser. Furthermore, Newsome has taken the singular path of solo performance with a decidedly orchestral point of view, customising the ‘straight horn’ with all manner of paraphernalia, from plastic tubes fitted between the neck and mouthpiece of the horn to brass mutes placed in the bell, all of which extends his instrument's range by two octaves. The rub is that Newsome steers these modifications clear of gimmickry. By way of multi-tracking and layering he becomes rhythm as well as horn section and his sassy, funky licks, often by way of slap-tongue that has an almost wah-wah feel, make for an irresistible beat upon which he can weave strings of melodies, as is the case on ‘Urban Location’, one of the album's highlights While the multi-phonics, microtonal finesses, and very vivid sense of physical engagement with the instrument, from high hiss to low hum, are ear-catching, it is Newsome's narrative strength that stands out. There are 15 pieces on offer, like small panels in a large painting, and each one has a deft, focused arrangement whereby motifs lock together effectively, whether the song is just over one minute or under five. The result is adventurous, unorthodox and fascinating.