After his well-received excursions into the rarefied classical/folk crossovers of his recent ECM-released trios, it’s a pleasure to welcome Misha Mullov-Abbado back into the relatively more rumbustious environment of the London jazz scene - specifically, the Brixton neighbourhood from which the album title derives. Much like contemporary Brixton, this music has a lot of excitement and energy while showing distinct traces of refinement (let’s not say ‘gentrification’).

Opener ‘Traintracker’ opens with a fanfare and blasts into a backbeat-driven romp for the outstanding horn section – Matthew Herd sounds particularly fiery on alto. This band have played together on and off for around 10 years and it shows – the rhythm players have a real intuitive cohesion across the various styles on offer, and the horn section sound fully at ease with Mullov-Abbado’s writing, often sounding like a much larger ensemble.

There’s some stylistic diversity in the composition, from the pensive modernist ‘Rose’ and ‘Red Earth’ to the meticulously arranged contemporary mainstream of ‘Subsonic Glow’ and ‘The Effra Parade’ - special mention to Sam Rapley and James Davison for their burning solos on the latter - and there’s a confident swagger that’s never overbearing. Outlier ‘Nanban’ has an atmospheric calm that contrasts with the more conventional, busily arranged material, and could appeal to the cosmic jazz crowd. Like Brixton market, there's something for everyone.