Pianist Connie Crothers plays fairly well throughout this double LP, alternating rather precious ballads with heated basslines reminiscent of her teacher, Lennie Tristano. The audience reaction (which often has one or two women literally screaming in spots) is a bit annoying, and Crothers at this early point in her development did not show much individuality. A "Love Suite" with sections titled "Roy Eldridge," "Sheila Jordan" and "Max Roach" does not particularly sound like any of the performers' styles, but some of Crothers' more heated explorations are successful. Still, her most significant work was in the future.
by Scott Yanow