This track - while housing some of "Dad's Old Jazz" - is just plain different. Surely the Peabody string sextet perfectly plays the complicated Brubeck figures, but at about 1 minute and 45 seconds in, Mark's piano (on Fender Rhodes) introduces two measures of the early bluesy Philadelphia piano sound. This brief but powerful interjection repeats three times, acting like a "teleportation" effect acting like a sudden jolt into a different musical dimension. The subsequent full Philadelphia-style keyboard solo is perhaps the longest in the entire collection. That solo is an undeniable journey: it begins with the blues, doubles into more modern and even atonal territory, but always returns to its blues and gospel roots. The solo ends with a familiar bluesy cadence, perfectly setting up the return of Sam's original Rondo theme.

In essence, a cohesive creation emerges from Samuel's proficient orchestration , the compositional legacy of Dave Brubeck, and the foundational, soulful influence of the Philadelphia jazz piano sound, which Mark still cherishes even as his conceptual space today is generally his own and therefor non-derivative.

All of this is a tribute to creative synthesis, a process that does not seem
bounded by time or style.