Criss Cross boss Gerry Teekens has always been one of the producers who give emerging talents their first big break. And Philip Dizack, who has been on the New York scene for a few years now, undoubtedly has something special to offer. Though totally ‘now’ in his approach to composition (seven of these tunes are his), his conception and magnificent, sometimes lonely, sound never forget the bluesbased tradition, evidenced by his a cappella work on Ellington's ‘I Got It Bad and That Ain't Good’. There are shades of Terence Blanchard and the timeless Roy Hargrove, especially when he solos with just Joe Sanders or former Wallace Roney pianist Laden. His originals, all of which have short but striking melodies – are full of feeling and he gets excellent support from an outstanding group with Harland playing an important creative role and gelling most tellingly with the equally creative Sanders (whose ‘Joy and Sorrow’ is a highspot). Los Angeles-based tenorman Wendel is a more than effective front-line partner who deserves an album of his own. But it's Dizack's record and his melancholy, elegiac sound will impress and haunt you more with every play. A strong label debut by a stylist with much originality and potential.