Op het Australische platteland wordt een dokter, die last heeft van een oorlogstrauma, ingeschakeld door de politie om misdaden op te lossen.
"Charles Mingus' finest recordings of his later period are "Changes One" and "Changes Two", two Atlantic LPs that have been reissued on CD by Rhino. The first volume features four stimulating Mingus originals ("Remember Rockefeller at Attica," "Sue's Changes," "Devil Blues" and "Duke Ellington's Sound of Love") performed by a particularly talented quintet (tenor-saxophonist George Adams who also sings "Devil Blues," trumpeter Jack Walrath, pianist Don Pullen, drummer Dannie Richmond and the leader/bassist). The band has the adventurous spirit and chance-taking approach of Charles Mingus' best groups, making this an easily recommended example of the great bandleader's music." (Scott Yanow, Allmusic)
"Along with its companion volume Changes One, this is one of the great sessions from one of the best working bands of the 1970s. Starting with the spirited "Free Cell Block F, 'Tis Nazi U.S.A," this volume also includes the vocal version of "Duke Ellington's Sound of Love" with guest singer (and acquired taste) Jackie Paris, a remake of the classic Mingus composition "Orange Was the Color of Her Dress, Then Silk Blue," Jack Walrath's "Black Bats and Poles," and Sy Johnson's "For Harry Carney." The challenging repertoire from these December 1974 dates sustained the Jazz Workshop for several years; these are the definitive performances. Rhino's reissue duplicates the original LP down to the layout." (Stuart Kremsky, Allmusic)
"For this generally upbeat session -- recorded in Holland -- Adams is joined by co-leader and longtime colleague pianist Don Pullen, and is backed by drummer Dannie Richmond and bassist Cameron Brown. Richmond spurs the saxophonist on, while Brown strikes hard in support, resulting in some strong solos by Adams on tenor sax. Adams seems to glide effortlessly up and down his horn, his patented licks never tiresome. Most of the original tunes are blowing vehicles, which work well with the superb talent represented here. Pullen is more pensive than usual, but always effective. The lyrical flute work by Adams is a pleasure, but it lacks the verve of his saxophone playing. Some of the best moments come from the interaction between Pullen and Adams, whose legacies left an indelible imprint on late 20th century jazz." (Steve Loewy, Allmusic)
"Born out of Mingus' last band, the Adams/Pullen Quartet took off from its onetime leader's eclectic and fervent musical approach to form its own provocative and fertile take on hard bop and the avant-garde. In addition to Pullen (p) and Adams (ts), the band another Mingus alum: Dannie Richmond (d). Having already cut a clutch of fine discs since 1979, the quartet showed the power of its live concerts with this second volume of recordings from the Village Vanguard. Taped in 1983, the four cuts show off the group's varied repertoire of post-bop material. The mix is mostly up-tempo, with Pullen's gospel and R&B-inspired "Saturday Night in the Cosmos" and "Big Alice" bookending one of his more knotty swingers, "The Great Escape," and Adam's fleet and Latin-tinged bopper, "City Gates." Everyone contributes fine solo work, while also keeping everything nice and in the pocket. A highlight from the Pullen-Adams catalog and one of the most impressive of contemporary live jazz dates." (Stephen Cook, Allmusic)
De tenorsaxofonist George Adams en de pianist Don Pullen ontmoetten elkaar in de seventies, toen ze samen in Mingus' band speelden. Sinds eind jaren '70 vormden ze een kwartet, dat toen dit album verscheen, in 1983, op z'n muzikale piek zat: dit wordt door velen als hun beste album beschouwd. Alles klopt hier: de composities, de solo's en de arrangementen vormen een passende puzzel die samen één van de sterkste postbopplaten van de vroege jaren '80 maken. Het spel is gevoelvol en energetisch en er zijn gelukkig geen vocalen van Adams. Op z'n tenor bouwt hij op naar kolkende crescendi zonder een moment z'n controle te verliezen. Drummer Dannie Richmond and bassist Cameron Brown lijken hierdoor extra geïnspireerd. (vrije vertaling van Allmusic-recensie van Steven Loewy)
