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Tracks like Schuller's "Comeuppance" brim with melodic interplay, with everyone imitating and trading motivic material. Ullmann’s composition, "Dreierlei," is a showcase for the saxophonist's soprano-playing, which encompasses everything from fierce squalls to panache-imbued flourishes. Stevens' "Little Pete's Diner" starts out conventionally enough as a sultry tango, but Ullmann has a bit of fun playing spoiler, bringing the dance over to the avant side of the equation with throaty rasps and wild runs. "No Hazmats" is a forceful extended piece, which gives each member a chance to solo, as well as supplying several stentorian tutti.