On the opening track, "Purple Onion", one of three written by tenor sax player Leo Johnson, who also plays on the record, the synth is part of a textural layer with Ralph Byrd's electric rhythm guitar being another significant part. The melody is mostly handled by flute, which is probably Jesse Morrison. Bob Cranshaw is on bass and, with Lawrence Killian on percussion, creates a killer groove. It takes McGriff a while to come in but when that Hammond makes its entrance, it really stands out in this sonic environment. Jimmy Ponder is on lead guitar and takes a nice solo.

The next tune is also by Johnson and has a similar swaying, swinging, groovy, funky feel but is a bit more complex. Duo tenor saxophones handle the melody and once again McGriff lets the band get everything established before he comes in. This time the synth is way beyond texture and takes a wild solo.

The title track is by Jesse Morrison and uses the synth aggressively to double the bass part. Then the horns come blasting in, at first just playing a couple of notes in unison but then doing more complicated lines together. It's a heavy funk blues and when McGriff joins in—once again he's biding his time—it really takes off.

"Cumayon" is the third Leo Johnson piece on this record and has a very different sound and feel to what's come before. The drummer sounds like he's riding the crash and all the members of the ensemble are lighter, airier, nimbler, dancing around some more complex lines and changes. At this point you have to wonder who the drummer actually is. Lawrence Killian is credited with "percussion" and that's it but there's definitely a drummer and someone else playing conga (and perhaps other percussion).

Next we get a Jimmy McGriff tune. "T.N.T." goes back about ten years or more from 1975 for a classic '60s soul jazz blues with walking bass, a killer groove and giving everyone room to stretch out on their solos. It's beautiful.

That same feel also dominates the next track, another McGriff original called "Stretch Me Out". This one is jazzier and more uptempo and tough-sounding with a curve ball or two and a great guitar solo. Interestingly, there's no synthesizer on these two McGriff tunes. From a different session maybe?

The last tune comes courtesy of lead guitarist Jimmy Ponder and it's something of a marvel. "Pisces" takes an insistent and simple bass line that feels like it leans closer to rock than to jazz, lets the drums get primitive, and then has the guitar play the melody with octaves. There's a great sax solo and then McGriff comes in only at about the halfway point.

What a great record. People should be playing these tunes today. If they can!