As horn stylists go, D’Angelo and McHenry couldn’t be more different, and Anderson takes advantage of this in many ways during the course of the album. On “The Owl,” for instance, D’Angelo’s solo is almost entirely “out,” his playful screeches contrasting with McHenry’s careful, yet energetic, dissection of the quickly moving changes. At other times the two-horn interplay is as subtle as that heard on “Foxy,” where D’Angelo plays the slow, singable melody before McHenry takes it over, continuing it underneath D’Angelo’s solo. Ben Monder is also a tremendously important part of the band’s sound, comping clean, mellow chords and contributing fine solos on several cuts. His fuzztone workout toward the end of “The Captain” is a highlight. Marlon Browden’s loose yet cohesive time feel suits the music perfectly, and his quasi-rubato free-for-all during the finale, “Silence Is the Question,” give the piece most of its dynamic shape.