Herbert?s tenor sax has a sweet but muscular tone, his lines both pensive and celebratory, as if on a spiritual journey, one accepted for all its ups and downs. Yet, there is a nagging sense of calculation here. While his chops are hardcore and his resume suitably hip (work with Freddy Hubbard, Chicago Met Jazz Orchestra, Charles Earland Quartet) this seems more like a note for note tribute to heroes rather than an exploration of new ground. I could listen to spiritual Bop all day long, but with something this close to an appropriated style, I feel like turning this off and putting on some Coltrane.
Not that this is all textbook. Herbert?s sweet tone and ideas show up in spades on his solos, especially on ?The Temple of Silence? and ?The Eternal Void.? What makes this set step beyond an exercise in classic bop trademarks are the solos, and a command of the instrument and arrangements that illustrate passion and sincerity. I just wish Herbert has stepped out a bit more on his own, and used the comforting giant steps of his heroes as stepping stones to his own awakening. 5/10 -- Mike Wood (22 August, 2007)