Here we have Larry Young admittedly ‘into something’! a new way of integrating the organ, aka the might Hammond B3, which would work as well on Jazz quartets as on whatever combinations the future would present him with, electric Jazz-Fusion combos, or enlarged ensembles .

This intrinsic need might well have come from the fact that he was perhaps the first 2nd generation professional organist in the field – as Nat Hentoff once remarked -, and generational conflicts oblige Larry had to play distinctly from his own father, and for that matter from any other organ player in the business; thus and instead of using the organ in the overbearing wall of sound role it was mostly used, he’d explore its more subtle possibilities, outlining graceful lead statements or using it as an underlying and sometimes almost veiled but infectious and pulsating rhythm heartbeat.

And as Elvin Jones keeps the grooves boiling with his febrile, restless throb, Grant Green seems like the perfect alter-ego for Young’s style, his refreshingly uncluttered lines and incisive timbre a quasi-magic mirror image to complement the balsamic but animated and buoyant moods the organist seeks to create; as for the throaty sound and the often offbeat arguments Sam Rivers develops, they inject both a dose of earthy realism and savage knock-it-down confrontational attitudes which are the icing on the cake that make this a journey’ into something’ really new and spectacular!

There is a Green original, “Plaza de Toros”, which provides a welcomed detour into Spanish half-tone modulations and spirited tempos. The remaining tracks are Young penned originals that help solidify his composing imagination. The blues based in 6/8 feel “Tyrone” with its almost childish theme dedicated to his 5 year old son and the crispy and swinging blues of “Backup”, the both gentle and witty “Paris Eyes” and the sensual and sinuous “Ritha” where Rivers is left out as if the trio could better convey all the passion the writer seems to have used for its creation.