Analog Method blends jazz, funk and electronica into a heady, danceable mix that's imaginatively composed and well thought out, with a variety of provocative colors and textures. What's most enjoyable for me about this recording, though, is the "go for it" attitude that prevails throughout the disc.

These musicians aren't holding anything back, and the overall sound has a you-are-there live vibe that's essential to any studio recording. This is due in part to the exceptional engineering and mixing work by Andrew Gallagher. Gallagher's knowledge of the music and the band helps to draw out its best.

A key to any good groove-jazz band lies in the bass and drum positions. On this recording, bassist Chris Beam and drummer Mike Walsh create a pocket that is steady, but flexible. Beam keeps his bass lines unobtrusively simple and direct, allowing the propulsive drumming of Walsh to help shape the overall texture of the tune. On Dan Shure's "Sofa King," they nail down a groove that is reminiscent of the grooves Chick Corea's Return To Forever band used to achieve. Shure's keyboards add wonderful textures to all of the tunes. He plays a thoughtfully conceived solo over the solidly funky "What Chew Say," which also features a brief but effective drum solo from Walsh.

The two main solo voices are well displayed throughout. Saxophonist Sean Berry has really come into his own. His solo on "Sum" is fiery and imaginative. His sound on the tenor is full and round, as he shows on the beautiful title cut "Night Rider." But it also has the right edge when needed, as on the cut "Booby Trap." Jason Yost plays several guitar solos that are imaginatively fluid. His work on "Sum" and "What Chew Say" is especially fine, as is his work on "Thugs," where he builds a nice arcing solo over the terrific reggae groove of Shure, Beam and Walsh.

Analog Method has created a terrific recording that allows for the individual musicians to freely express themselves. I'd like to hear more bands make recordings like this.