Who knows what ‘feel’ is on any instrument: yet, from the opening chorus of ‘Intervals’, Holtz is just in that groove, like bells on a Sunday and blues on a Monday, it’s just the natural law: don’t question it, just, um, feel it. Less charitable souls may see such projects as ways for old pal fusioneers to keep themselves in polo necks and zircon encrusted tweezers. But if you don’t ask too deeply, and don’t expect Bartók or Brahms, then Holz’s surefooted compositions and, more importantly, generous arrangements are a satisfying listen. Stern in particular has a ball, never trying too hard, as on the most mellow groove of ‘The Point’. This magically morphs into a ballsy melee as he bends, bends and bends those strings while Brecker pushes him ever on. And just the right tang of cowbell. ‘Larry’s Blues’ takes it a step further, with Rovatti and Brecker again to the fore, but Stern is exquisitely unabashed about stealing the show.