Here's Woodville maestro Barnes front and centre, his slightly sceptical portrait on the cover complemented by a rather more cheerful representation in its interior. Barnes explains that much as he has relished previous outings pairing him with other star players, quartet playing ‘is a little harder’. For sure, and Barnes tests himself further by working with a previously untried ensemble and, happily, finds they share the kind of rewarding common ground that makes for an above-average album. The choice of material is typically varied, five Barnes pieces, each definably different, complemented by others' originals and standards. His ‘Blue Note’ opens ahead of the title piece, a minor blues named for his ‘beautiful daughter’ and marked by King's superb walking bass lines, with Green digging in, Barnes finding good blues phrases, wailing and doubling the tempo over that insistent King groove, Green taking an often oblique view, the harmonies vigorously shaken and stirred. ‘Up in Jim's Flat’ (for the late Jimmy Asman) is altogether more urgent, marked by a very perky theme, Barnes breezy while Green plays zigzag rhythmic games and Taylor interjects some crisp breaks. Barnes takes Strayhorn's immortal ‘Blood Count’ at face value, sensibly enough, echoing Hodges at times. ‘Mango’ is a calypso based on Bird's ‘Little Suede Shoes’ and moves enticingly without being over referenced by Charlie Parker licks, this before Cedar Walton's ‘I'll Let You Know’, taken at a relaxed, almost reverential pace. Overall, this feels like Barnes setting aside his all-consuming versatility and making his case as a mature improviser on alto, with Green, King and Taylor alert to his every move. Bravo, Barnes and company.