This combo similarly performed renditions of four jazz standards, all instrumental this time: “Groove Merchant” by Jerome Richardson, “Contemplation” by former Coltrane pianist McCoy Tyner, “Só Danço Samba” by Antonio Carlos Jobim and Vinicius de Moraes, and “Work Song” by Nat Adderly. Throughout the set, each soloist had a rather definitive soloing style and influences; trumpeter Dakarai Barclay played with technical bluesy stylings similar to Clifford Brown and a bit of Dizzy Gillespie, guitarists Daniel Melton and Alex Hassell took subtle cues from Joe Pass and Wes Montgomery (respectively), bassist David Schroeder carried some improvisational phrasing from Paul Chambers, tenor saxophonist Wes Hunn featured many technical runs that called out homage to Charlie Parker, alto saxophonist Stephen May had a bluesy approach that took influence from Cannonball Adderly, and strangest of all, alto saxophonist carried a very angular avant-garde approach seemingly influenced by latter-day John Coltrane and pianist Thelonious Monk. These differing stylings helped created a cohesive narrative of instrumental voices that kept each song extremely interesting throughout, which proved especially effective when handling some of the longer pieces of the set (primarily “Contemplation”). In an unorthodox comparison, the group worked akin in their improvisations similar to a rap collective such as the Wu-Tang Clan works, each…