dreadpirateroberts Some credit can probably be given to the conditions of creating this album – working on a soundtrack seemed to sharpen the band's focus, allowing them to capitalise on individual strengths and the group dynamic.

The compositions, while still bearing some clear influences from Hancock and others, are memorable and varied. There’s a ‘good-time’ feel to some of the music, especially with an almost raucous tone to the opening sax solo of the ‘Suite’ for instance, but there’s still time for more introspection, even melancholy, with the second half. Before Levy takes it that way though, the band showcase a kind of light funk that they keep just interesting enough with solos. Once the piano takes its first gentle, exploratory steps into more pensive territory, we’re treated to a lovely build-up to a bit of a semi-waltz where the rest of the band returns. The piece is quite a showcase and sums up the tone of the whole album nicely.

From there ‘Galapagos Duck’ usher in another long piece, ‘Theme’ which is where the harder funk is to be found, momentarily bringing Hancock’s Head Hunters to mind and giving Hare a chance to show off. Despite the tempo change and unaccompanied flute solo toward the end, it’s much in the ‘head + trade-off solos’ format, though that doesn’t mean it’s ineffective.

‘Carter’ brings back that ‘good time’ feel with its electric piano, once again typifying the Australian cliché of laid back people on beaches with surf boards (or at least it does for me.) It’s a snappy little piece and works as a welcome interlude before the closing pieces, where the listener is reminded how effective ‘Take Five’ styled beats can be on ‘Kate Did’ where the energy is high, before ‘Self “Bloody” Control’ reaches a kind of middle ground between the funkier moments and the gentler piano outro of the ‘Suite.’

This is an enjoyable album, and probably my favourite of theirs, in fact, one of their early peaks, especially in terms of composition. With piano and saxophone taking the lion’s share of the spotlight, especially the soprano, which is usually washed with reverb to add to the lonesome feel to some of the passages, you’ll still notice the rhythm section but part of me thinks this Dave Levy’s album as much as the whole band’s.