This music was singular. There was still melody flowing through the pieces, but the edges were sharper. Compositions were devoid of extraneous passages of dubious romanticism. While Melford’s piano hits were direct and to the point, she was able to slow things down for a few minutes, and get deep down ethereal. On one occasion, she was even strumming inside the piano itself, which gave the music a whole other dimension.

Dresser was an absolute killer on the bass. Moving between high-strung finger picking to obliterating and moving pizzicato work, Dresser was equally as good when he picked up the bow and let the energy flow through that channel.

Wilson was a monster as well. Oftentimes, he would pick the band up when it was moving into morose territory or slow them down when the occasion demanded. One fault that I could come up with in terms of Wilson’s style was, the guy was trying to do too damn much in too short span of time. He wanted to do it all and all is not possible in an hour long concert, nor is it possible when you’re talking about a ten minute piece of music. On a positive note, interplay between Wilson and Dresser was phenomenal. The give and take continued on and whenever Melford changed pitch or tempo, the other two would continue to support her.