The uncovering of Horace Tapscott’s vast discography continues unabated, and this engrossing concert at the Immanuel United Church of Christ, Los Angeles will only underline what is already known by some and should be known by all: the West Coast pianist-composer-bandleader-educator-activist deserves his place in the pantheon of modern black music.

While rooted in Coltrane-Tyner modalism and Monkish melodic whimsy, Tapscott found a way of boldly personalising his ensemble sound whether he was writing and arranging for a nine or sixteen-piece band. His orchestrations pull off the none-too-easy trick of moving from levity to density without any abrupt shifts, flowing on an often danceable pulse.

The excellent original material has stately, heraldic themes, contrapuntal richness, an earthmover bottom end created by two double basses, and an abundance of fine soloing, above all by the leader, soprano saxophonist Jesse Sharps and flautist Adele Sebastian. On a double album full of lengthy pieces in which the heaviness of the ensemble sound is well complemented by the deeply expressive character of every improvisation, Tapscott proves yet again to be the cornerstone of a musical community that was laying a foundation for the future, as the advent of Kamasi Washington in the 2010s would make all too clear.