This a better rounded album than Bonacina's debut Way of Life, simply because the combination of saxophone, bass and drums can ultimately become one of monotony of tone since after a while the ear begins to demand something more – specifically harmonies and tonal contrast – that no amount of virtuosity can ultimately compensate. So in her follow-up album she has invited guests Paganotti and Schumacher to provide exactly those elements. ‘Circle Dance’, for example, benefits enormously from Paganotti's voice doubling the melody line and offering celestial harmonies, but even so Bonacina does go on a bit with just bass and drums – yes, she's talented, but she does have a tendency to overwhelm the listener. Few have succeeded in making the baritone sound a congenial instrument, Serge Chaloff springs to mind and to a lesser extent Gerry Mulligan, but Bonacina, for all her rumbustious enthusiasm is not a very lyrical player and barely pauses for breath so that her solos have a congested quality where prolixity robs her solos of meaning. When she moves on from playing the whole history of the baritone saxophone in the first 30 seconds of her solos we'll see if she really has something to say.