On much of this album there's a fine live feeling in the studio. ‘The Reconstruction’, has some burning solos from Wilson and pianist Sands, but then as we seem to be heading for a coda, there's a shout of ‘Let the drummer take it out…’ and Watts produces a deft and hard-swinging final solo. The opening ‘Rhythm Section, built around Watts and an introductory bassline from Panascia, opens up to some dazzlingly fast solo playing from Wilson, who has come to fame in the last few years with the trios of Joey De Francesco and Christian McBride. So, partly, this is an old-fashioned collection of straightahead playing with some virtuosity on show. But they also demonstrate how to delve deep into a slower piece – as on the title track. Had it remained an instrumental album, Vessels would be four-star worthy. But the singing of Joy Brown lets it down. She has neither a particularly pleasant voice, nor any sympathy for the material she is singing, so that despite the best efforts of the players, an attempt to vocalise Coltrane's After The Rain’ comes badly unstuck and a melodramatic ‘Cry Me A River’ sounds like a failed audition for 1980s TV series, Fame.