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All of the music on L'Heure Bleue has aged well. Several jazz critics have cited the album as Koglmann’s best, and while I might disagree with such a ranking (how can there be a "best" that excludes the Pipetet?) I do think it speaks to the rarefied flow that is achieved in these performances, and to the way in which they cross lines (white and otherwise) that musicians from both Europe and the US have attempted to blur with greater frequency in the succeeding years. — Bob Blumenthal