" data-original-title="" title="">Ben Thomas once again invites his audience to put on their dancing shoes and sway to Argentina's unique and emblematic musical genre. In doing so, he affirms that there is far more than one way to tango, eliciting all the warmth and color he possibly can within eight of his luminous and rhythmic compositions.

Besides writing and arranging every number, Thomas plays bandoneon, vibraphone and percussion while leading a sextet whose uncommon makeup includes clarinet, bass, piano and two violins—not what one might envision on a jazz album but well-suited to a session whose raison d'etre is the tango. Rhythmically and harmonically, the tango stands apart from any other dance style, which can be an asset or liability depending on the skill and imagination of its interpreters. Thomas makes the most of that, blending handsome melodies and engaging rhythms that bring out the best in his small yet feisty ensemble.

The bandoneon (which sounds much like an accordion) is out front on most tracks, the vibraphone on "Sonia's Mask" and "Eric's Vials." Improvisation (if indeed there is any) springs naturally from the leader's written scores. Thomas, clarinetist