This is an album that is probably closer to Americana since it draws on, and is informed by, a host of vernacular American musical genres – jazz, blues, gospel, country, folk, and rock – without pledging sole allegiance to any. What emerges is a glorious musical hybrid that owes its authenticity and integrity to Lloyd's saxophone improvisations. The introduction of vocalist Lucinda Williams only adds to the stylistic ambiguity – a poet, she has sung in jazz, blues, country, folk and rock settings – and lends a tough, keening edge to this music, which includes versions of her own ‘Dust’, ‘Ventura’, and ‘Unsuffer Me’. In addition, there are five instrumentals that include three new Lloyd originals plus ‘Monk's Mood’, and Fran Landesman's ‘Ballad of the Sad Young Men’. This is music that creates its own space, is in no hurry to make its point and is what it is – music of great integrity. Frisell and Leisz are central to its meaning, neither seeking to impose a stylistic point of view, but content to be a part of an overall whole that is gently shaped and given direction by Lloyd's saxophone.