When one considers that the musicians on this quartet date are each associated, to an extent, with the New Orleans Young Lions and modern jazz movements, this music is rather surprising. There are no hints of parade rhythms; instead the result is a modern form of cool jazz. Bassist Neal Caine, who wrote all of the selections which sport original chord changes, keeps the group under tight control, although there are individual heroics and a few brief explosive moments. The tenors of Ned Goold and Stephen Riley have similar tones and styles, while Riley occasionally switches to alto clarinet for variety. Drummer Jason Marsalis is pretty laid-back for the most part, except for a few moments. This music has similarities to the type of cool jazz heard in Sweden in the 1950s although it is not an exact duplicate of anything. The “Intro,” “Outro” and three “W M D Interludes” make the set unfold like a suite, and it holds one’s interest throughout. Neal Caine’s Backstabber’s Ball is an excellent and fresh example of modern swinging jazz. – Scott Yanow