You would expect a band called to dive into the darkness, but 's big band does the exact opposite -- while the saxophonist and composer does explore the shades underneath the sunny surfaces, the group ultimately tends to prefer bright lights and open vistas. 2024's -- their third album after a self-titled debut (2020) and (2021) -- was inspired by a cross-country journey from Brooklyn to Denver on which listened to all the different radio stations he could find. The result is glossier than its predecessor, finding its inspiration in the various pop and feel-good formats he encountered. Beginning with the cheerful swing of the opening title track, 's group settles into a good-natured groove, combining the smooth sounds of the orchestra with a rousing rhythm that approaches disco in the second half of the song. "Stop & Go" is bolstered by a guitar which gives the track an indie pop feel, while the supple orchestra seems inspired by the most accessible forms of '70s fusion -- just like the lush "New Beginnings," a tribute to that recalls some of 's pop-jazz records from that era. But while the sound may be polished, there's nothing superficial about the richly layered textures, and the songs offer and his musicians ample room for spirited solo spots, like 's delicate flugelhorn on "New Beginnings" or the vigorous dialogue between 's sax and 's trumpet on "Heartland Radio." There's one track with vocals, too, where the orchestral approach is mixed with singer/songwriter pop ("Barbara" is an homage to sculptor , whose work can be seen on the record's cover). The album's second half explores different moods, as on the more dramatic "Golden Handcuffs," which continues the dialogue between and , but the dreamy "Little Song" quickly moves the album out of the shadows again while reducing the pace for the reflective conclusion of "Walking on Water." It's the bright daylight where & co. ultimately thrive, but there's always depth underneath the sheen of their inspired journey through the heartland. ~ Christian Genzel