As always, there's good news and there's bad news. And, as a result, I am faced with the age-old question of which to present first. Conventional wisdom says to go bad first, and then ease the pain with the good.

The good news: Luis Bonilla and Trombonilla have put together a throwback to freeform jazz that is worthy of some attention. The long solos, while very trombone-focused, are heavily reminiscent of those on the revolutionary Miles Davis album Bitches Brew. And, while the entire album is rife with freeform solos and breakdowns, there is a solid Latin foundation to bring it into the more contemporary jazz world.

Aside from the obviously stunning trombone playing by Bonilla, the rhythm section, featuring Vinnie Johnson on drums, Valentinho Anastacio on percussion, and John Benitez on bass, is a highlight of the album. Even at its weakest points (see ‘The bad news') the drums and percussion are there to pick up the pieces and lend an impressively subtle hand. For example, in "September's Children," there is very little variation or dynamic change for the first minute of the song. However, once the drums begin to take over, the song is brought to a new level. Johnson and Anastacio combine to lay down a groove that is oddly and satisfyingly similar to the one driving "Within You, Without You" on The Beatles' Sgt. Peppers.

Overall, the variation from song to song, including the seamless weave of Latin music and traditional and freeform jazz (including long, winding songs) makes the album's first listen a head-bopping, nostalgic experience.

The bad news: Bonilla and Co. may stick too strictly to the standards set by Miles all those years ago. No song on the album falls very short of 9 minutes, with most being closer to the 11 to 16 range. While Davis' Bitches Brew featured some twenty-plus minute jams, Trombonilla is simply not the band that can pull such a feat off. The songs may vary in style from one to the next, but during they are often stagnant and dragged out too far. The album was recorded live, so some extended jams are excusable. However, songs like the album's title track, "Terminal Clarity," are simply boring.

The execution by Bonilla of freeform, while a valiant attempt, is disappointingly flawed at times. His solos are too busy, too random, and too filled to the brim with notes. He doesn't use the silence in between them to build tension, especially on "That's How They Get You." Again, this franticness is brought back to earth by the drums and percussion, most notably a rising and falling drum solo toward the end of the tune.

As I said, the song-by-song variations in style and feel make for an exciting first listen. However, the shiny veneer of modern freeform jazz band begins to chip away with each subsequent trip through the album. Hearing this album for fourth and fifth times felt errily simlar to the weeks after my younger birthdays, when I would have already grown tired of playing with my relatively new presents.

All is not lost, of course. Given the virtuosic nature of the members of Trombonilla, the album is a worthwhile listen, despite its inconsistent delivery. The tunes are bound to rouse the jazz fan over several generations, especially those of the last forty years. A good portion of the old school mixed with the new is always an interesting concoction, and Terminal Clarity fits this mold to a T.