'When McPhee introduces flattement and doits with his saxophone the exposition becomes more pressurized as its stretched further along with f string pops and col legno stops from Edwards. Boosting the sequence even more, McPhee adds vocal yells along with reed honks so that the exposition alternates between lento finger-cymbal taps and delicate string slaps or staccato drum ruffs and string pumps. Returning to trumpet, McPhee's thickened bursts gradually give way to a quieter, more lyrical sequence, that with cymbal swishes and light string strokes references both the tune's head and the reed/brass transformation which makes it unique. While the set reaches a crescendo-climax with the concluding "Images in mind" the trio move into Free Jazz mode. Complete with Edwards' thick plunks and scratches, Kugel's ruffs and rebounds and McPhee bugling upsurge, the penultimate "Light beam (for Charles)" defines how McPhee has managed to be creative for so long. Encouraging an underlying swing groove from bass string stops, the horn player leads the band and audience through a few chants of "Charles Gayle". Saluting another free form player who shares his age, McPhee further confirms his appreciation of other sound explorers as well as the linkage of Jazz and improvised music yesterday and today.' - Ken Waxman