Donald Harrison plays quite well throughout this set, displaying a distinctive tone and a consistently creative style within the genre of straight-ahead jazz. All but the last two selections feature him accompanied by bassist Vicente Archer and drummer John Lamkin, both of whom stay very much in the background, often playing repetitive and somewhat dull figures. Pianist Glenn Patscha is on three numbers without making an impression, while the final two songs have Harrison joined by Ron Carter and Billy Cobham.
Altoist Donald Harrison's disc utilizes New Orleans parade rhythms on all of the selections, even while most of the solos (until the final three numbers) are more hard bop than New Orleans jazz. John O'Neal verbally pays tribute to the rhythms on the opening "And How That Rhythm." The other selections include an augmented bop blues ("Two Way Pocky Way"), the tricky "Don't Drink the Water," Thelonious Monk's "Bye-Ya," a pair of Freddie Hubbard tunes well worth reviving ("Crisis" and "Bob's Place"), Sonny Rollins' "Oleo," and the catchy "Spirits of Congo Square."
On his second album for Impulse!, recorded August 18-September 24, 1998, Donald Harrison continues to proselytize for what he called "nouveau swing" on his first date for the label, even going so far as to sing/rap an explanation of his concept in "Nouveau Swing (Reprise)." Essentially, what he seems to mean by the term is that, within an acoustic quartet setting, he intends to introduce elements of a number of musical genres, for example covering the Meters' funk anthem "Cissy Strut" and having drummer John Lamkin use a reggae feel for "Softly, As in a Morning Sunrise," the Sigmund Romberg standard he previously recorded on For Art's Sake.
On his Impulse! Records debut, Donald Harrison mixes his usual straight-ahead work with rhythmic elements from tropical climates. Albert Wonsey plays appropriate piano on all tracks, though Harrison employs two different rhythm sections, Christian McBride and Carl Allen for the more conventional tunes and Ruben Rogers and Dion Parson for the others. The others include "Bob Marley," twhich borrows its rhythmic feel from such later Marley songs as "Exodus"; "Little Flowers," which also has a Caribbean lilt; "Septembro," the requisite samba; and "Duck's Groove," the requisite New Orleans second-line number.