Recorded at Moat studio in London, in November 1997, and first released on No�l Akchot�'s own Rectangle label the same year, this is a welcome CD re-issue of the meeting between the late, great soprano saxophonist and vocalist Lol Coxhill, vocalist Phil Minton and French guitarist Akchot�. The album's thirteen tracks vary in length from under a minute to nearly seven minutes and cover a range of styles and approaches; some are obviously freely improvised while others sound more composed with a recognisable melody line. Everything sounds as if it was recorded live in the studio, giving it a fresh, spontaneous edge and immediacy that is very engaging, the musical equivalent of tightrope walking without a net.

These Britons had both achieved the status of national treasures long before this recording, and their performances here only serve to reinforce that status. They are unmistakable stylists who are instantly recognisable and unique. Although this was the first release featuring the two, they had performed live together and were familiar with each other's styles. More importantly, they each had a freewheeling, quirky approach which meant neither was afraid to take risks, so that it was always unpredictable what would happen next. Both had been well-versed in jazz but, by 1997, neither could be called a jazz player, having long since gone beyond the genre. Although Akchot� was still relatively young at the time, he held his own in such company and was an equal contributor to the three-way exchanges between the trio, providing discreet support when required and adding his own distinctive interventions.

The unpredictability of Minton's vocalising � including all manner of guttural sounds, whistling and gibberish � means that accompanying him cannot have been straightforward or easy. It is to the guitarist's credit that he does the job without making it sound too difficult or drawing undue attention to his guitar work. Coxhill's role is different as he and Minton frequently duet, exchanging quick fire phrases at impressive speed. When Minton switches between a low growl and a falsetto, Coxhill twitters along and allows him space, interweaving perfectly with the vocalist. As ever, listening to Coxhill's playing brings home the magnitude of the hole his death left behind; he is still much missed for his sax playing, vocalising and sense of humour. Strange but true: at this Moat session the trio also recorded a five-track Christmas single which was released on vinyl in 1998! (Excerpts can be found on YouTube.) It is just as essential as this fine CD.