Harris is anything but a household name yet his sideman credits include Eddie Gomez, Cecil McBee and Terri Lyne Carrington among a slew of others. It makes you wonder whether or not jazz media has the space to accommodate all the notable talent on offer. From the opening bars of ‘The Nile’ it is clear that Harris got to play with the aforementioned for a reason. His touch at the keyboard is assured, his improvising economic but expressive and his repertoire not devoid of interest. Amid reprises of Marley, Shorter and Jimmie Davis (‘You Are My Sunshine’), Harris unveils some smart originals and each in turn reflects a thorough grasp of the myriad vocabularies available to a contemporary jazz artist who knows the music's long history. The big question is whether Harris can move beyond the ‘second great quintet-isms’ that frame much of the work. For the most part, yes, and certainly on a piece such as ‘The Dinosaur Suite’ the twists of harmony and shape-shifting narrative, particularly the transition from robust, bass-heavy first movement to the flighty latter stages, are worthy of repeat listening. Harris' decision to sing ‘Redemption Song’ was a ballsy move that sadly doesn't quite come off, primarily because few vocalists can invest the lyrics with the deep sense of suffering and healing for their transcendental quality to come through. What we're left with is an album where the whole is not greater than the sum of very substantial parts. Removing some of those parts might actually serve the cause of a future recording.