This is really two albums in one, with a clear line of demarcation between two concepts. Roney says that he wanted to "incorporate African rhythms with a Nefertiti approach" on the whole CD, but Nefertiti easily overwhelms, even obliterates, the African element up until track six ("Village"), where Steve Berrios' percussion and Robert Irving III's synthesizers kick in. Now the music becomes more interesting, sometimes following the direction of Herbie Hancock's Mwandishi Sextet -- and the last four tracks are appropriately linked to one another by Berrios' interludes. The best track, "EBO," has a great theme, an amalgam of Kind of Blue, Filles de Kilimanjaro and Gil Evans, with Chick Corea's Fender Rhodes electric piano complementing Geri Allen's acoustic piano. You guessed it; by now, the boo birds have been out again accusing Roney of being a Miles imitator. But the means are justified here, because Roney creates thoughtful music within his post-Miles idiom and, like his late idol, tries to stretch himself. Besides, there was a good reason for revisiting the past this time; the death of Roney's former employer and bandmate Tony Williams in 1997 made this album, though recorded over three months earlier, a memorial -- unnervingly so in the way Roney and drummer Lenny White follow the Williams rhythmic method in Cole Porter's "I Love You." Also, Pharaoh Sanders puts in a pair of (for him) rather safe cameo appearances.
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AllMusic Review by Richard S. Ginell