That’s at least partially true, as this group played live gigs together in 2002, and Tyner and Hutcherson have played together periodically since the 1960s. But there’s no reason anyone should have necessarily expected such a fruitful collaboration between these four particular musicians, other than the fact that as superlative musicians they all have the ability to listen closely and respond to what the others are doing at any given time. Listen to the way the bass and drums bolster and push Hutcherson during his solo on “Steppin’,” and the way that the group trades solos on the end of the same tune. Or, check out the way that Tyner compliments Hutcherson’s solo on “If I Were a Bell” perfectly—not just comping background chords, but conversing with the soloist, even though he’s never stepping on anyone’s toes. That’s the very definition of “tasteful” playing, and though many seem to like something with more sturm and drang, this kind of urbane sophistication never goes out of style.

Where Tyner was once a volcanic player known for his earth-shaking, mountainous chords, he is now a much more restrained player. This should not be taken to mean that he lacks passion or that he can no longer unleash a maelstrom when he wants to. It simply means that Tyner has continued to mature as a pianist since his time with Coltrane or even his ‘70s sessions as a leader. Where there was once a roiling and tempestuous style of playing, there is now a gentle yet insistent swing that is never at a loss, and a seemingly endless array of fresh ideas. This is true even though Tyner is now staying much more within the framework of the pieces he plays—no one would accuse of him of going at all “outside” on this recording—and somehow, that produces a listening experience that is no less exciting than it ever was. Like Ahmad Jamal, another pianist who has played through several eras of stylistic changes in jazz, Tyner may now be playing some of the best piano of his career.

Standout tracks include “Manalyuca,” which features exceptional solos from Hutcherson and Tyner as well as great arco bass work by Charnett Moffett, “Contemplation,” which features a Latin feel when it isn’t breaking into an outright jazz swing, an a version of Ellington’s “In a Mellow Tone” that is absolutely perfect. It’s true that Tyner isn’t necessarily breaking any new ground here, nor is he stretching boundaries the way he did with his old boss, John Coltrane. But as a pianist Tyner has only gotten better since those days, with an even greater command of the instrument and a much greater sense of control. Lovers of straight ahead jazz played by a group that clearly enjoys playing together cannot go wrong with Land of Giants.