Recorded during his 75th birthday celebration at the Jazz Standard in New York City, follows B-3 boss 's acclaimed 2016 release, , which marked his return to . Again unobtrusively produced by label boss , the seven-track set places the great organist in the company of his working trio with guitarist and drummer . In addition, drummer and vocalist appear on a track each. The program, like 's best work from the days of yore (1968-1970), is wildly diverse. It opens with a cooking read of 's classic modal composition "Juju." 's Hammond B-3 goes deep beneath the surface structure of the tune to reveal the subtle colors and tones inherent in the original melody, highlights them with slippery grace and shifting arpeggios, and drives the strident yet mysterious groove with tasty breaks and fills. 's labyrinthine solo builds on the changes to balance groove and keyboard pyrotechnics. Another highlight is the nine-and-a-half-minute version of 's "50 Ways to Leave Your Lover." Commencing as a slow burn with stating the melody and guest relying heavily on funky, syncopated breaks, 's entry offers subdued tonal shades in the changes until the refrain, when the trio shifts gears toward improvisation, carrying the tune into previously unknown regions. 's trio displays its elegant chops and close camaraderie on a sultry, lyrical read of 's classic "On a Misty Night." They listen closely, while implicitly knowing how to utilize harmonic and dynamic understatement for maximum expression. includes a pair of his own compositions here as well. First is the long, moody, and exploratory "Alhambra," with his keyboard strings and muted trumpet sounds, eventually evolving into a free-for-all jam with everyone digging deep. He also revisits "All in My Mind," from 1977's . The latter is a more retiring (but no less satisfying) version, with 's gorgeous voice as its focal point. The set closes with a soul-jazz cum post-bop read of 's sprightly "Up Jumped Spring" that finds the great organ master allowing his playful side to come to the fore, gliding through the changes to set the pace for his sidemen. While this set doesn't possess the raw fireworks of his recordings on such as , , and , it more than compensates in taste and outstanding musicianship, making for a thoroughly enjoyable listen from end to end. ~ Thom Jurek