Really, why should this music be called avant-garde? Should a band as gloriously fun as Phillip Johnston's Big Trouble really be given a stylistic label equated by many with either difficult art music or deadly serious free jazz? Yes, in the '90s jazz world, the enormously engaging saxophonist/composer and his band of accomplished musical pranksters definitely fell on the avant side of things, but that was more a reflection of the sorry state of the mainstream, in comparison to which, of course, any era's avant-garde is defined. In a rational world, Johnston's first post-Microscopic Septet project would be seen as appealing to a very broad audience segment – say, those with ears on the sides of their heads.