According to the brief, unsigned liners, this quartet recorded This Is. . .Rude in an old warehouse for a few days without any written compositions or arrangements. Musicians of this quality could be thrown together in the middle of the night without any preparation and they would produce something worthwhile, so it is not surprising that three days of work produced the results found here, which though erratic, are a joy to hear. There are different genres and influences at work, so those expecting an Annie Whitehead/ Harry Beckett front line to fit any particular mold will be disappointed. The album as a whole has a decidedly pop-jazz feel, usually with a sophisticated twist. The horns are critical to the album's success, with both the trombonist and trumpeter in strong form, although Beckett sometimes flounders. Whitehead's electrified trombone sounds somewhat dated, but it also provides an experimental feel. She is heard to best advantage when her horn is unadorned, which it often is. The group is clearly having fun, trying out new ideas but also keeping it very accessible, reaching back to the 1980s for inspiration. Ian Maidman and Liam Genockey are the rock/ pop side of the equation, adding attractively funky underpinnings. The best piece might be Hello Max, taken at a lazy pace, with the slightly augmented trombone repeating a simple lower register riff, leading to a relaxed, Miles Davis-influenced solo by Beckett. At its best, the group rocks in singular fashion. It is too bad that the level of performance is not more consistent. ~ Steven Loewy, Rovi

1		Tranquility Base
2		On the Shoulders of Giants
3		This Is Rude
4		Hello Max
5		The Crack (Between the Worlds)
6		Gravitation Boogie

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