It’s hard to believe that albums featuring Kidd Jordan used to be rare occurrences and difficult finds. This month, there are not one, but two, records that feature his stellar playing. This one, with his constant partner William Parker on bass and Michael Wimberly on drums, is the last session from leader and pianist Borah Bergman. Here, the creative interplay between Jordan and Bergman results in a great range of dynamics and textures throughout the record. Bergman’s piano technique, for which he was justly famous, is excellent here. Its closest comparison is Cecil Taylor, but he uses more single note runs and less clusters. He also sticks to playing the keys and notes instead of playing the piano strings and other inside parts of the piano. Kidd’s phrasing here tends to use fewer notes, and those fewer notes take longer to build into the longer passages. One of the best parts of this album is that there are quieter and relaxed passages complete with beautiful piano solos and moments where the whole band jells rather than competes. I love the crazy, ecstatic blowfests that Kidd plays like no one else on the planet, but here, he, Bergman, Parker and Wimberly dial it down and play shorter, less-wild riffs and exchanges than usually found in creative music. It’s refreshing and makes this recording no less artistic and beautiful—but it does make it a little more accessible.