The inclusion of giants among men in the personnel for this fourth album by alto-saxophonist Fuller is newsworthy. But the real headlines are the saxophonist's growth as a composer, as well as the performance of guitarist Adam Rogers, a constant presence throughout whose well-wrought comping and eye-of-the-needle soloing are essential components of the arrangements. By her own admission, Fuller is a fully paidup member of the cult of Kenny, as in Garrett, arguably one of the defining exponents of the alto in the 1990s, yet this release sees her veer into territory that channels a wide range of influences beyond his patented tough bluesiness. Rogers’ input, above all the wispy, hazy, wafting chords that colour the music's palette without overpowering it, serve the overall finesse of the songs, ensuring that the momentum of the drums and bass – held down by no less than Jack DeJohnette and Dave Holland among others – is well foregrounded. Sam Yahel's lightness of touch on the organ is also a vital addition to the soulful ensemble sound, but it is Fuller who shows how well she is maturing as a leader. Having a voice of experience such as Terri Lyne Carrington produce pays dividends – there is poise as well as passion in Fuller's performance, as well as a coherent sequencing of the setlist. A significant step forward from a musician with considerable character and real potential as a leader. Kevin Le Gendre