Hungarian tenorist Bolla now works in Denmark and recorded this album there in multi-national company, with Swedish bassist Franck alongside top New Yorker Drummond and piano virtuoso Lakatos. Much is made in the liner notes of his commitment to the great saxophone tradition as exemplified by Coltrane and Rollins – which may or may not be the most important thing about him.

Bolla’s ‘Monkey Donkey’, with its stop-start theme is immediately intriguing, the phrasing and fluency certainly evoking Rollins while hinting at Mobley too, Drummond and Franck laying down a fast-moving pulse, the tenor ideas spilling forth. Latakos solos with a kind of off-hand brilliance, clearly relishing the support of bass and drums with their impeccable time feel, while exploring every harmonic nuance of the piece.

Bolla’s ‘Love Is Love’ has his tenor lines slithering to and fro; it’s good to be reminded of just how vitally swinging and impactive a player Drummond is, especially when Latakos solos, the pianist’s quick-fire linear figures and oblique accents presenting quite a challenge. There’s plenty going on here.

If Bolla is a mini-maelstrom of creativity, then Latakos is quite definitely an improviser of superior quality, fizzing with ideas and unexpected outcomes. ’Chelsea Bridge’ is more considered and again reveals Bolla’s distinctive approach, while ‘Blue Tarif’ gets the soprano treatment, with Drummond breaking up the beat, even if the emphasis is on sonic effect rather than beauty. With other themes by Monk, JJ Johnson, and Ellis Marsalis intermixed with Bolla’s own neat pieces, there’s much here to intrigue and please.