Always had a lot of affection for this record. It's got so much... mood. It's also a real triumph of programming, which is saying something given Bob Weinstock's preference for blowing sessions.
Also interesting to me how relatively light Mal's touch here is compared NOT to his post-breakdown work, but the more "pounding" playing he was doing with Mingus around this same time. Cf., AT THE BOHEMIA, which is one of my top 5 Mingus records (though I feel like it doesn't get much love). That Mal sounds more like 60s Mal than this Mal. Not a good or bad thing; just interesting (maybe).