What startles here is the piano playing of Kirkland. Barely 25, he has a kick-ass attitude mixed with the vet's feel of when to knuckle down and let the stars do their thing. And there is space aplenty for Vitous and Surman to do just that: Vitous dances and solos against the melody from the off on ‘When Face Gets Pale’. It's a poignant reminder of why he was so readily compared to Scott LaFaro. That signature bowed style is there too, on ‘Inner Peace’ and the brief flight of ‘Eagle’. Surman, by contrast, revels in the neurotic ‘Second Meeting’ and soars, Coltrane-esque, on ‘Number 6’. But Kirkland quietly steals the show, more European than the Europeans with his Debussy like glimmer on ‘Sleeping Beauty’, or again gorgeous on ‘Inner Peace’. Whether the set as a whole hangs together is questionable as it jumps between self-consciously modernist, ‘free’ yearnings, and the love of a good melody. It's interesting to compare it to Surman's First Meeting with the same line-up. But either way, it's a reminder of Kirkland's young talent that was taken too quickly from us.