Longtime fans of will likely know the circumstances of this series of recordings, but they are worth repeating for newcomers. In 1979, the small Japanese label approached the saxophonist to record several albums of West Coast jazz. was delighted but faced a predicament: He was under an exclusive contract to another company. His wife (ever his collaborator, adviser, and since the 2000s an author and the producer of many fine unreleased recordings on her label) cleverly suggested he cut the albums as a sideman, and handpick his leaders. It resulted in six albums. While they were compiled in a box after his death, and 's co-produced the re-release of these titles individually. This fourth volume with trombonist , pianist , bassist , and drummer was the first session recorded by and is one hell of a lot of fun. It was initially released under ' name under the title . suggested for the session, one of 's oldest friends and musical associates. The rhythm section was part of the saxman's regular band. The music here is gorgeously recorded and the session is a bona fide swingfest. Opener "Just Friends" is warm, breezy, and full of feeling. The interplay between is effortless and canny. 's solo is a welcome contrast of knotty arpeggios and ostinati. "Begin the Beguine" is delivered Latin-style as executes syncopated feints and accents on hi-hat and snare while lays down montunos under the melody. ' solo offers an alternate harmony to 's. He's ever the stylist, using rhythm as a way of extending lyric improvisation. The meaty bassline adds groove as well as heft. Though wasn't a conventional bebopper, he delivers an intro on "For Art's Sake" that uses it to his own ends and moves into a slightly angular solo that reveals his own sense of force and immediacy. 's punchy chords and solo are deft and extremely creative as they intuit the saxophonist's extrapolation on the form. Speaking of blues, there are two takes of 's "Funny Blues" here that prove right in her liner notes: The alternate is the better one; it's cleaner, a bit sweeter, and more empathic harmonically. This wouldn't be an record without ballads and there are two beautiful takes of the standard "Angel Eyes" here. In the first, susses out all the pain and heartbreak that imbues into his solo with devastating impact. "P. Town" is a bright, bumping swinger with engaging in swaggering counterpoint, dovetailing with blazing solos complemented by , who adds jumping chords, and fills before his own fine break. While the whole series is worth owning, may be the truly essential one, as it captures relaxed and happy during an amazingly productive time in his life. ~ Thom Jurek