Booklet writer Neil Tesser argues that this was the Jazz Messengers’ strongest line-up ever, and with such stellar players, who can argue? Putting that potential debate aside, and having heard them at the time, this live recording, taken from a Copenhagen concert, certainly suggests that Tesser is on the right track. He calls it “a glittering array of brass and polish” and given Hubbard's quick-silver solo on the opening ‘Moon River’ and Fuller's chuckling run, these after Shorter's more sober entry, he's right. Walton was the new man on piano and again, he's on fire here, moving freely from a strong bebop line to a sudden percussive emphasis. This is fiery stuff.

Next comes Shorter's eerie ballad ‘Contemplation’, taken very slow, Walton matching Shorter for solemnity. ‘Lester Left Town’ is all fireworks, from Shorter's all-hands-on-deck solo, with its Coltrane implications, to Hubbard making sense, with Merritt's exemplary bass lines carrying the load, as Blakey rattles along and Fuller follows the train and makes for the station. ‘Round Midnight’ is for Hubbard, muted and magnificent, poised and particular, with Walton aiding and abetting. ‘It's Only A Paper Moon’ is given a 15-minute examination, Fuller resplendent and Hubbard filleting the theme ably before Blakey's mid-point solo, this only exceeded by Fuller's ‘Arabia’ which goes for a minute longer, Hubbard again exhilarating as he was throughout. The closer is the late 1950s, sure-fire favourite, ‘Blues March,’ Shorter enigmatic, Fuller militaristic, Hubbard ablaze. Yes, this is a winner.