Vastly experienced and a present-day stalwart on the New York scene, altoist Snidero (born 1958) says it’s only now that he feels he has the confidence to handle this ‘exposed setting’ and cope without chordal support. This after some 25 earlier ‘name’ albums and an established and enviable reputation as a significant soloist and contributor to top modern bands!

Still, what better way to tackle this pared-down situation than with the expert bass-and-drums team of Washington and Farnsworth, both men first-call players but happily compliant here in the altoist’s desire to fully explore his improvisatory potential. Snidero’s sound owes something to his early affiliation to his teacher Phil Woods: the vibrato modest, the facility impressive, the control and shading quite perfect, Snidero testing himself on a mix of standards and jazz masterpieces without repetition or hesitancy.

The title track is a lengthy exploration of a fine old tune, Farnsworth and Washington safely tucked in whereas later tracks allow Washington, in particular, to act like a parallel soloist. One might expect ‘Parker’s Mood’ to be fervent and impassioned, instead it is a copybook thesis in the use of nuance, as Snidero investigates its every nook and cranny. This continues on ‘Willow Weep’, with Washington again masterly and Farnsworth’s accompaniment quite minimal. In essence, that is what the album is mostly about: consider it as a masterclass in alto supremacy but in a minimalistic setting.