Although Lou is wonderfully facile in this Blue Note session from the late 1950s, it's Herman Foster, the great pianist, who steals the show, with convincing evidence that a complex harmonic instrument need not be treated as another variant on the Horace Silver/Bud Powell single-note theme. Foster's highly sophisticated two-handed harmonies in "Play Ray", a medium tempo blues for Barretto, are worthy of transcription. This is a virtuoso pianist with an aggressive, percussive approach which is atypical of Blue Note recordings of the era. The intensity of Foster's attack in Denzil Best's "Move" is phenomenal.