Back in the mists of time, Rob Gallagher, aka Roberto Galliano, used to feature on Gilles Peterson's Radio London show, listing the week's hippest gigs in a Beatnik-rap style while accompanying himself on bongo drums.

Come the dawning of the Acid Jazz scene, his band Galliano were the first ever signing to Eddie Piller and Peterson's Talkin’ Loud label, and their blend of cheeky-cockney rap, retro jazz-funk grooves, and evident reverence for an eclectic range of almost-forgotten musical heroes put them in the vanguard of a very distinctly UK take on what falls within the boundaries of jazz.

It's an alternative version where the relatively obscure likes of Reuben Wilson, Johnny Lytle and Grant Green can loom larger than the usual canonical figures, where Pharoah Sanders is as important as John Coltrane, and where The Last Poets, Fela Kuti, Eddie Chacon and Roy Ayers all feature on the playlist alongside Art Blakey.

You can trace the resulting ripples directly to a host of current UK artists who derive their version of jazz from the dancefloor as much as the concert hall. Galliano stood out from the Acid Jazz crowd for wearing their urban hipster personas lightly, leavening proceedings with an observational humour that evoked Ian Dury as much as Gil Scott Heron, and for having the good sense to employ an absolutely killer rhythm section that delivered on their musical ambition.

Now, 30 years later, they’re back, fortunately with the whole team intact, with a new set of songs interspersed with ‘Lndn’ in-joke skits. The sound is maybe a little harder edged – ‘In The Brakes’ sounds like Talking Heads and LCD Soundsystem mashed with P-Funk and ‘Crow Foot Hustle’ sounds edgier, darker, even world-weary - but Valerie Etienne sounds as agelessly commanding as ever, and essentially nothing has changed.

There's even a retread of ‘57th min/Power And Glory’ from the first album. Rob's voice may have deepened and roughened with the passing of time - hear him grittily enumerate how the band's history spins into his web of inspirations on ‘Circles Round The Sun’ - but the fancy hats remain, the groove on and the fact that the record doesn’t sound dated is proof of the band's lasting influence.