You wouldn't know right off this is the pianist moving ever forward along the cutting edge with Coltrane at the time (1962, a year after Live at the Village Vanguard and two before Crescent and A Love Supreme). He sounds more like a bluesy Bill Evans.
Roy Haynes maintains the beat in perfect harmony with his mates, not a surprise. The special thing about this is really hearing, with plenty of room in the trio setting, what a fine advanced yet conventional bassist Henry Grimes, an absolutely great avant-garde bassist then and now, could be when the situation called (Benny Goodman used him, too). Good version of Old Devil Moon.
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