By John Barrett, Jr.

This is Anton's second album, and this shows a lot of assurance. Most tunes are taken slowly, and it's an easy-flowing reed that knows what to say. On "Miyako" it praises, taking the gentle theme for all its emotion. The piano drifts in; drums distantly crackle. Paul Nagel turns on the lushness, in gradual ascent, and here comes Anton. He builds little patterns and moves them faster; it's a forceful tone, but with a sense of reflection. The strength grows, then a sudden release--we're back to the stillness, and tiny chords as the volume fades. In six minutes we've heard an Impressionist painting--and Anton impresses me!

While the pace remains consistent, it never seems monotonous. "Curve of the Earth" is a supple samba, driven by a liquid bass. Anton hums the theme simply, with a delicate trace of rust. Nagel sounds lonely, while the saxman shouts out a fine strut. The nearly-blues "Don't Ask" packs a big punch from Lewis, and some Trane-like quavers. It's Schwartz' toughest solo, and still has the sense of order you hear elsewhere. The atmosphere swirls, and Nagel just glows. They all get busy for the end, and for an instant it could be the Classic Quartet. Then feel the drive of "Along Came Betty": clipped notes from Anton, a percussive Nagel, a torrent of power. The sax turns a slew of smooth slithers, Lewis pushing him to more action. Paul, also spurred, runs mad with steam and high wiggles. Betty has arrived, and so has the band.

"Chelsea Bridge" is misery itself: Nagel's comps have the presence of Duke. Anton reflects, with his warmest tone of the album. Nagel pounds a monster riff on "Come Rain or Come Shine"; Schwartz brings it like Ammons, but you wait for the riff to return. It's a solid blue, with Nagel engagingly funky. His top solo by far, he swings it so hard that you'll be delirious.

"Peace Dollar" is earthy, and stuffed with atmosphere. (It was inspired by an Abdullah Ibrahim concert; "One of the spiritual experiences in my life," said Anton.) Shifflet pushes down to the ground, Nagel adds color, and Anton murmurs the sound of love. You don't hear this song as much as you'll feel it. And you feel good when "The Slow Lane" goes to church: a passionate blues while Paul testifies. It's weary but happy; the way you feel at the end of work. And the band works hard--especially Anton, who is never less than sterling. Only in his thirties, he sounds like a veteran. And while the tunes come "slow," the pleasure comes quick.