Although her membership of Beyoncé's band is one of the prime talking points in the alto saxophonist's career, one could just as easily mention her work with Esperanza Spalding and Terri Lyne Carrington, for any incredulous soul who doesn't believe Fuller has chops. This, in any case, is arguably the strongest of her three releases for Mack Avenue, and, very loosely speaking, shows that she has sufficient understanding of soul and funk as well as jazz to make music that gains the kind of ‘song worth singing’ quality of the best pop without crudely dumbing down. Insofar as she anchors the bulk of the set in acoustic swing, Fuller also stays true to what might be perceived as a ‘pure’ sound to which fusion phobes might possibly warm. All of which means that she is not a million miles away from the territory that Kenny Garrett, as trusty heir to Cannonball Adderley, has cultivated for some years, showing that a saxophone melody can make a crowd chant as much as a vocal line. Although her originals are worthy of note, Fuller's trump card is her approach to two standards that have been so thoroughly rinsed out over the decades it's not entirely easy to see how they can be successfully re-floated. Yet ‘Body And Soul’, taken as a medium tempo groover with a subtle punch on the drums and a majestic vocal by Dianne Reeves, is a real winner. As is the slalom course of ‘Cherokee’, which by way of a frenzied, percolating 12/8 timbale-style groove superimposed on the central 4/4, becomes a kind of primal Afro-bop that is bracing in both its tribal energy and needle sharp execution.