The saxophonist – he plays tenor exclusively here – has said that Time Being's genesis lies in a mental audio-image he had of playing Ornette Coleman's ‘Lonely Woman’. With him in the ‘dream’ were Hurst and Watts, and the relationship of the three instruments – two exploring one avenue of interpretation, one exploring another – has led from idea to actuality. It makes perfect sense when one hears the mostly trio-led album. Aside from the aforementioned Ornette classic and Monk's ‘Teo’, the ‘tunes’ are all Armacost's. He blends compelling theme and harmony – ‘The Next 20’, with lyrical piano from Kikoski and Armacost's delicious note-shaping, sounds like the Great American Songbook tune you've never heard – but can also suggest a looseness of structure, as three short pieces prefaced with the title ‘Sculpture…’ attest. Coupled with this range in the form of the music, the synthesis Armacost creates in his own playing – all the way from classic ballad tenor to more abstract, modernist, free playing – results in music which can unite different audiences, too. There is something here for mainstreamers and free improv fans alike. Hurst and Watts are an orchestra in themselves, but even when things get busy the spaciousness that a chordless trio offers is maintained. Kikoski is the perfect occasional fourth member.