Well, this album puts some distance between the three ECM albums Potter recorded in recent years and, on top of that, he’s blocked-out large swathes of his diary to tour the music just to make sure everyone gets the point. For those who have seen Potter blowing up a storm in live performance and wanted him to harness it, this album does a pretty good job with some of his most powerful playing captured on record for over a decade. Empowered by jazz, R&B, hip hop and funk, with a bit of world thrown in for good measure, the mix of acoustic and electric tone colours makes it impossible not to think of Circuits as a contemporary update of his Underground band (that made their last album 10 years ago). There’s some exciting musical moments captured here, enough to make sure that many from the saxophone fraternity will be first in queue to get a copy of this album (Potter is a huge favourite among young, and not so young, saxophone players). The nine tracks on this album cover a variety of moods from almost acoustic to funk, with four tracks benefitting from Linley Marthe’s sublime bass-guitar filling out the bottom in a way electronically simulated bass tones cannot do. More especially, he adds an additional layer of rhythmic and harmonic interest. Taken together, this unexpected document provides a window into Potter’s current musical thinking – full of energy and vibrancy, it should connect him to (even) more fans.