Attendees of Terence Blanchard’s Jazz Fest set got a preview of this outstanding effort by the trumpeter and his solid band. Memorable from the performance and on the disc is the passionate ballad, “Over There.” Twenty-something, Aaron Parks introduces this beauty alone at the piano with Blanchard delicately picking up the melody. Its gentleness soothes like a lullaby until, as if overcome by adoration, the trumpeter screams with emotion and the Kendrick Scott’s drums explode. The outpouring spent, there’s a resulting calm.

Another tune from the CD experienced at the Fest’s final Sunday is “Wandering Wonder.” From the head, it can fool a person into believing that Blanchard is going to take this one straight-ahead. Instead, with the trumpeter soaring in the lead, Parks, Scott and bassist Derrick Hodge back him with individualistic weaving and sparing ensemble work that’s bound to create excitement.

Guest Herbie Hancock, who sits on the board of Seattle’s Monk Institute along with Blanchard, takes over on piano for two numbers, “Benny’s Tune” and “The Source.” On the later, which includes vocalist and guitarist Lionel Loueke, a flurry of notes announces Hancock’s entrance. His flowery interjections bring a sense of romanticism to the tune and then, in a display of his stunning dexterity and drive, the master changes gear when he goes it alone with Scott’s crashing cymbals beneath his foray.

Two extended pieces take up almost 22 minutes of the generously lengthy album. The African flavored “Wadagbe,” which is also preceded by a four-minute introduction, emphasizes the influences of Benin native Loueke whose guitar and scat-like vocalist are showcased here as they where on Blanchard’s last fine album, Bounce. New Orleanian saxophonist Brice Winston takes his solo with gusto on this selection that boasts unexpected interchanges and variations. As its title suggests, the other extensive piece, “Harvesting Dance,” offers a celebratory mood as Blanchard’s horn sounds off as if announcing a great triumph. The ensemble acts as a marching unit beneath a wave of electronics. Synth programming, credited to both Blanchard and Howard Drossin, comes into play on several cuts though because of their musicality they don’t distract from and often enhance the work as is evident, again, on the wonderful “Over There” that also includes tasteful vocalizing by Gretchen Parlato.

Flow is Blanchard’s second release on the Blue Note label, having left a successful association with Sony Classical in order to record music of his choosing. As he said in a 2003 OffBeat interview, after recording the Grammy-nominated standards album Let’s Get Lost, featuring an array of vocalists, he was ready to get away from themed products. Like his Blue Note debut Bounce, Flow finds the trumpeter regaling in a free stylistic environment that is conducive to exploration. The album’s title well describes the communication between these musicians as well as the focused stream of Blanchard’s often eloquent, sometimes intense and ever more emotional blowing on compositions from his and his band members mighty pens.