" data-original-title="" title="">Scott Reeves of a concert that his quintet performed sixteen years ago, in May 2005, at the City College of New York. With time on his hands as a result of the scarcity of gigs during the pandemic, Reeves visited his archives and found the recording, which he never intended to release owing to audio issues. A visit to Grammy-winning audio engineer Brian Montgomery helped change his mind. "I thought the band sounded inspired that night," he writes. "I also thought it might have been some of the best playing I've ever done that's been recorded. So I determined to get this project out there."

Was it worth the trouble and the wait? Opinions may vary. The ensemble is certainly commendable, and most of the audio deficiencies seem to have been erased. The over-all mood is relaxed and casual, more akin at times to chamber jazz than a lively blowing session. Exceptions are the title song, which hurries forward at a sprightly clip, and the standard "All or Nothing at All," taken at a more animated pace than usual. Besides writing every tune save "All or Nothing at All" and arranging every number, Reeves plays alto flugelhorn and alto valve trombone, each of which was specially designed for him, and seems now and then to be playing them simultaneously, which if true must have been quite a feat onstage with an audience, placing him in a class with