Kollman opens his latest mostly-instrumental variety pack with anything but silence. 'Cosmo Ray Vaughn' salutes the late blues master Stevie Ray Vaughan through one of the undervalued strengths shared by both guitarists — rhythmic chording — as Kollman creates a blues/funk hybrid theme with bassist Ric Fierabracci and drummer Shane Gaalaas.

The strutting 'West Coast Swagger' follows by blending influences both contemporary (Larry Carlton) and bluesy (Eric Johnson) as Kollman plays electric and acoustic guitars, plus bass, with keyboardist Ed Roth (from the Bombastic Meatbats) and drummer Adam Gust. 'One Last Remark' is a fleet-fingered solo acoustic guitar improvisation that includes a snippet of scat-singing by Kollman, who’s also an underrated vocalist. More of that talent comes later.

Other guest stars include drummer Joel Taylor (Al Di Meola, Andy Summers), who paces Kollman’s haunting, bluesy title ode to deceased Irish guitar icon Gary Moore; Bombastic Meatbats bassist Kevin Chown, who anchors the acoustic flamenco piece 'Steer Clear of the Border Town', and bassist Jimmy Johnson (Allan Holdsworth, James Taylor) on the mournful 'Song For James', dedicated to the late Los Angeles recording engineer James Murray.

'The New Nightmare' is a mix of metal and funk that displays an Eddie Van Halen influence and goes further toward the dark side through Coleman’s use of guitar synthesizer, and the fiery, acidic 'Afghan Headtrip' and atmospheric, acoustic 'Time and the Inevitable' are solo tracks that show two vastly different sides of his sonic palette.

Still, the guitarist holds his most unorthodox cards until the very end of the disc. 'A Day of Mourning' is a somber duet with pianist Lao Tizer on which Kollman plays acoustic guitar and electric bass to honor his late father, Tom Kollman. The piece was even recorded on the 10th anniversary of his death.

The guitarist then delivers surprising lead vocals and clean-toned guitar on the closing 'Unforgettable', the 1951 Irving Gordon standard made famous by Nat King Cole, to honor his late grandmother Helen Kollman. Complete with a string arrangement, upright bass by Fierabracci and backing vocals by family members, the track may sound out of place amid Coleman’s guitar pyrotechnics. But like most of his work, it’s practically impossible to forget.

- courtesy of AbstractLogix.com