"All Roads Lead to You" admittedly quotes The Rite of Spring on a conscious level; that Baum's own line is very similar to "Naima" is claimed as a happy accident in the notes. Not acknowledged--perhaps not realized--is that Drew Gress's bass line echoes to some extent Jimmy Garrison's pulse from A Love Supreme. However you account for everything, it works.
Pianist George Colligan is one of the real stars of the date. His chordal work sets everything up nicely, and his solos are also enjoyable. I particularly like his use of the electric piano on pieces like "Spring Rounds," recalling prime Hancock and Corea. Though the music is tightly composed with dense lines, there are plenty of openings throughout for intense (if not quite free) improvisation.
Jamie Baum's Moving Forward, Standing Still doesn't swing exactly, but it is not as dry as it may sound. The band in full flight throbs more than anything. It would be a stretch to claim that the Septet breaks new ground on this set, but they do for the most part stick to a path that is less traveled and take an interesting and scenic journey on it.