Soprano saxist has been a crown prince in the court for so long, it's easy to wonder if he remembers his days woodshedding with and ' . He's been wildly successful, and his time with the label has hardly been wasted; his rep is deep and wide, and his records move. Unlike a better selling counterpart on the same instrument, has a keen sense of rhythm and pitch, and his tonal control is top-notch. Given the tunes here, interchangeable deep relaxing grooves that borrow on everything from to , and 's early experiments -- check for evidence of the latter -- it's easy to forget the individuality possesses not only on soprano, but also on tenor and flute (he employs all three on ) as well as alto on the opening title track. He duets with himself on soprano and tenor on ' key collaborator here is composer, programmer, and keyboard whiz . He's the guy who comes up with the skeletal, wispy rhythm loops -- leaving the need for a drummer non-existent. There are three tracks with vocals here, an with doing his best , an overblown sunstorm of loaded overdubbing. The cover of 's is an understated with some beautiful phrasing by , even when the all too familiar chorus kicks in. When the backing vocalists -- -- enter, they are so utterly masked by production technique, it's hard to tell they are real singers. But it works, especially in the bridge when actually plays some lines. is a seriously gifted if unchallenged musician. He could use a new writing partner, but that doesn't mean that won't satisfy fans; it most certainly will. ~ Thom Jurek