Garrick is the custodian of his late father Mike’s considerable musical legacy but now he’s striking out for himself, his recent quintet album complemented by this more eclectic collection. Many of these musicians work with Garrick in the fetchingly titled King Candy and the Sugar Push and there’s something of that group’s ebullience in some of these tracks. Fourteen pieces in all, a mixed bag with Horace Silver’s title piece, inevitably, plus others by Dexter Gordon, Duke Ellington, Benny Golson, pianist James and Garrick himself. Something for everybody, you might say, but nothing from the senior Garrick, as it happens. Dexter’s ‘Index’ is given a suitably rousing treatment, just a simple riff really taken in swing style, with Hathaway’s plaintive alto featured over the chugging 4/4 rhythm ahead of Gabriel’s warm-sounding trumpet. Stokes takes his time getting into his stride but does well on Garrick’s ‘Come and See’, a catchy piece with a descending structure that takes some navigating. Kolarides, a new name to me, is something of a find as is James, both men telling their stories briefly and without bombast. The guitarist strums an opening to ‘Come and See’, helping to make it the most successful piece on the album, the writing maximising resources skilfully, James to the fore as Garrick makes his fluent way through the changes. ‘Mood Indigo’ is reverential (solemn clarinet from Hathaway) and ‘Mellotone’s trombone choir is multi-tracked with Hathaway leading the way on alto and Garrick assertive on flugel. ‘Wasted Time’ is funkier as is the rowdy ‘Riverside/Bourbon Street Parade’ amalgam while ‘Fats’, GG’s tribute to past master Navarro is suitably boppish. So, variety rules OK and that goes for Garrick’s music, too.