This version of one of the great and often underappreciated jazz groups of the modern era features trumpeter Herb Robertson with the usual all-star rhythm section of bassist Joe Fonda, pianist Michael Jefry Stevens, and drummer Harvey Sorgen. The co-leaders share the responsibility for the compositions and arrangements, the intricacy and delicacy of which are a large part of what gives this group its distinct character. If the sensitive nature of some of the pieces causes anyone to question whether any of these players have chops, Fonda wrote the riveting "Fast," for an uplifting, blistering workout. Robertson is the sort of brass player who sends up an endless array of spidery, rubber phrases that wail with the authenticity of a laughing coyote. Favoring mutes and always throwing in touches of humor, the trumpeter impresses with his agility, range, and command. One strength of the quartet is the ability and willingness of each of its idiosyncratic members to subordinate to the ensemble sound. Fonda is a gas when he sings lightly while his fingers bounce along in solo, while co-leader Stevens' more abstractly intellectual approach adds a classically infused element, tempered by his sense of swing. The quality of sound is a bit subpar on the three live numbers, but overall this is another highly satisfying outing from this outstanding ensemble that bills itself as the Fonda-Stevens Group. ~ Steven Loewy

Hans Kennel is a different sort of trumpet player, one who hardly fits any mold. His style looks back, perhaps to the 1950s, yet the Swiss improviser also has performed with moderns such as Steve Lacy and Albert Mangelsdorff. His tone has a distinctly lyrical quality, a full sweetness that is accentuated by the tunes, which appear mostly improvised. On two pieces, he blows Alphorn, which sounds like a French horn. John Wolf Brennan is Kennel's partner on the 18 tracks, where he plays organ instead of his customary piano, and Marc Untern„hrer joins on a lovely tuba for four selections. At times, the going is a bit slow, to be sure, and with repetitive patterns, isolated notes, extended tones, and minimalist structures, this is far from the kind of innovative avant-garde offerings often appearing on the Leo label. Still, it is a different take, with Charles Ives, Erik Satie, and even a traditional 17th century "melody form Picardie," each contributing to the eclectic diversity of song. The remainder of the "compositions" are by Kennel and Brennan, with the mood distinctly backward looking through the lens of the present. ~ Steven Loewy