Peacock composed seven of the eleven compositions here, many of them with a spare, sculptural, yet mysterious sense of form that generates tremendous freedom: brief phrases with myriad suggestions pass from one member of the group to another with a liquid ease. There’s a suite-like continuity here, as if the pieces constitute reflections on a single theme, their moods ranging from the drama of Moor to the levity of Christa and the brooding Vignette. The music’s surface is consistently beautiful, with Peacock’s sound a warm centre for the three voices.
The only piece included from outside the band is Gloria’s Step, a composition contributed to Bill Evans’ repertoire by Peacock’s friend, Scott LaFaro, the brilliant bassist who changed the course of the instrument before dying in a car accident at 25 in 1961. As well as an homage to lost genius, it marks the beginnings of the kind of fully interactive trio music that Peacock, Copland and Byron realize here.