Tim Lackas provides the most playful tracks. 65 and Sunny indeed is like a bright summer day with dancing basslines, big band harmonies, and fine soloing across the ensemble. Lackas own interlude yields more abstraction while Peterson s honky tenor provides a contrasting statement. Too Much is a funk-kissed track with energetic propulsion from bass and drums.

On his tenor solo, Peterson scatters notes around like confetti, colors going every which way with urging from his hornmates, then seamlessly yields the floor to Brindle s equally engaging trombone. Whaddya Know is a Monkishly playful tune that swings hard. Brindle shines in the early spotlight in a bop-minded jaunt, followed by a gruff alto verse from Neumann. Brett Smith provides popping drum breaks throughout, while Scott Snyder s muted trumpet whines over an assertive bass foundation.

Following Peterson s sinewy tenor solo, a final chorus brings it all together as if in a round, each instrument jumping in and adding its own layer until it all lands on the final note. Lackas fourth composition, Suzy s Strut, is aptly titled, moving along like an early Herbie Hancock classic. A tart trumpet from Scott Snyder carries on a conversation above the other horns, followed by funky grooves from soprano sax and bubbling electric bass.

Paul Peterson adds four tunes to the repertoire that harmonically seem to be the most elegant of the recording. Feets features beautiful chords filling a melodic track with a lot of swing and a touch of small town nostalgia, enlightened by Scott Synder s bright trumpet, Brindle s songful and peppy trombone, and steady punctuations from Brett Smith.