This is very different from Gomez's last release, Per Sempre, recorded with Italian sidemen and original material in 2008 and reviewed in Jazzwise 172. Showing the virtuosic and aggressive side of his musical personality, these six lengthy versions of revered standards take them comprehensively apart, in front of an enthusiastic audience at the famous re-opened Copenhagen club. Mid-40ish pianist Dahl, who was the homegrown (as opposed to international) winner of the 2000 JazzPar prize, has the chops and the invention to hold his own against the tidal waves of bass. Using the whole panoply of techniques such as double-stopping, pedal-points and slap-bass (almost overused at times but very effective), Gomez gets a maximum amount of mileage from the material with out-of-tempo passages, modal and polytonal improv and a remorseless exchange of the lead with Dahl. In other words, listening to this is exhilarating and exhausting, only relieved in a good way by the final 105 seconds of what sounds like a rehearsal tape.