The Lake-Workman-Cyrille ensemble is proving to be a stellar contemporary supergroup, evolving periodically by way of the addition of a guest pianist. The current incumbent, following Andrew Hill and Geri Allen, is Vijay Iyer, and he proves to be an effective collaborator on a set that has the strength of character one would expect from such illustrious names. There is a certain sting, a sweet acid punch in Lake's reed that is well complemented by the brawn of Workman's bass while Cyrille's percussive, funky syncopations ensure that the ensemble voice remains as rhythmically fluid as it is tonally solid. With Iyer's resonant, often unsettling chords and whirling single note lines worked into the mix, the quartet gains notable momentum, but retains a sense of understatement if not containment at times, which enhances the underlying tension of many pieces. Stylistically, the material is varied, moving from quite spare, modal territory to Ellingtonian balladry (the ‘Come Sunday’-ish ‘Willow Song’), to the kind of fraught rubato fanfares that Workman played with Coltrane many decades ago. Indeed, the quite thrilling ‘Synapse 11’, with its grandiose, surging theme could have been an outtake from one of Ohnedaruth's late 1960s sessions. Although there are moments of levity in this work, it creates for the most part an atmosphere of earnestness if not solemnity, above all on the haunting, sadly topical (in light of Michael Brown), ‘Suite For Trayvon (And Thousands More)’.