On his second album on Prestige there is even more powerful tenor and
soprano work because there are fewer soloists and no singers. There is a
Brazilian overtone and a spiritual jazz undertone (and sometimes
vice-versa) that puts this album into a world of it's own except perhaps
for the short lived acoustic Weather Report. Both of these albums grow
on you with repeated listening (for example I barely notice the vocals
on Bridge anymore) but this one kind of opens up and reveals more and
more depth. This guy was one baaad ass player!from Dusty Groove
"A beautiful album of spiritual soul and Brazilian influenced jazz from Azar Lawrence – ... Lawrence is a stellar sax player with a sound that's a bit like Gary Bartz, which means that he fits in perfectly with the Fantasy-era Prestige Records sound – but the sounds on this set are uncommonly rich and globally influenced. The set's predominantly acoustic, with lots of modal grooves in kind of a Strata East vein – and angular post-Coltrane playing that's very similar to Bartz's work on the Libra album from his early days. Players include Raul De Souza on trombone, Ron Carter on bass, Billy Hart on drums, Dom Salvador, who is really allowed to shine on piano on a few tracks, and drummer & percussionist Guilherme Franco, who brings a world of wonderful percussion on a couple of numbers. Titles include "Highway", "From The Point of Love", "Novo Ano", and "From The Point Of Light".
