A great addition to the lineage of the saxophone quartet – led by a drummer. It takes a player of the skill and overall musicality of Billy Hart to pull this off, and anybody who missed 2012’s gorgeous All Our Reasons should use this equally beautiful offering as a chance to catch up. If ever there was an example of contemporary jazz that draws extensively on all the ‘traditions’ while infusing some of the melodic clarity associated with the more challenging end of popular song, then this is it. Mark Turner's tenor is at its most probing and haunting and some of the contrapuntal work by pianist Ethan Iverson and bassist Ben Street is excellent. But it is the malleable, constantly shifting nature of the form and tempo of the arrangements that grabs the attention from the downbeat. Either by accident or design, the quartet is toying with perceptions of speed, playing somewhere between fast slow and slow fast numbers to excellent effect. The result is music that has a complexity and intricacy of construction that does not detract from its grand lyricism and potent emotional charge.

Jazzwise spoke to Billy Hart about the album

You seem energised by this group. Is it one of the best you've led in recent years?

I am inspired by this quartet. From the beginning, they all made it very clear that I was to play the music the way I felt it should be played.

The quartet has been together 10 years. How have things grown in that time?

I think we understand each other better. Mark and Ben were already very close musically when we started. They are also all such intelligent people. We have the most interesting conversations when we go on tour!

‘Sonnet For Stevie’ is one of the most lyrical, soulful tracks on the album. Is it a nod to Mr Wonder?

Yes indeed. It is a wonderful composition by Mark Turner.

Is it important to you that other members of the band bring their compositions to the table?

Everyone is encouraged to contribute! I keep asking Ben, ‘When are you bringing something in?’

Although there is a lot of drive in the music, so much of it is very subtle. Did you want to focus on a certain lightness of touch both in your playing and the ensemble sound?

Some of that is ECM's production. In a live performance you might get a different impression. But of course, subtlety is very important. I like how Manfred Eicher records my cymbal sound.

On many tracks you take relatively short solos [by jazz standards]. Was that a conscious decision?

I think what you mean is that there aren't many bass or drums solos, and frequently only either Mark or Ethan takes a solo on a song, not both. It is especially important to think about this when making a record. I was encouraged to record a solo drum piece but I didn't get there this time. Next time I plan to.