While the production appears rushed, the music is of the caliber that is to be expected from musicians such as Paul Dunmall, Paul Rogers, and Kevin Norton. The recording comes from the same session that produced the superb Rylickolum: For Your Pleasure but curiously, the notes for this one refer only to tracks from that earlier release, and Kevin Norton is listed as playing drums but not vibes, which he also performs in splendid fashion throughout. There are only three pieces, with two ("Go Forth Duck" and "I Am Not a Van [Ofocals]") of considerable length. Dunmall is a master of the small group performance: he paces each track carefully so that there is a relaxed sense of completeness. Dunmall plays his three favorite horns -- the soprano sax, bagpipes, and tenor sax -- and along with Norton's vibes and drums, plus Rogers' bass, there are a total of six instruments, making this more diverse and accessible than the usual sax-led trio album. In terms of Dunmall's discography, this is a quality set, equal to the reedist's best work. There is the requisite intensity, with Dunmall blowing hard when appropriate; there are also sections of introspective beauty. His magnificent solo on soprano following Norton's hardcore drumming near the end of "Go Forth Duck" shows why Dunmall is so respected as an improviser. Through the course of this solo alone, Dunmall springs off the bass and drums, develops moods, morphs in sometimes subtle ways, and engages in unmitigated flash, ending with a prime display of technical bravura with galloping clusters. His bagpipe reaches a majestic height as he merges sounds with Rogers' acoustic bass on "Come Back Weirdness Day." Rogers and Norton are about as tight a rhythm section as exists. They each know how to spur a soloist and they are each excellent soloists themselves. This is a power trio at the peak of their game, and here they project some wonderful moments.