Jason is the youngest of the performing Marsali and probably better known as a drummer, but here he concentrates throughout on his alternative instrument in a 12-track array of original compositions. These are mostly by Marsalis, recorded in New Orleans with the support of the same brilliant trio who appeared on his earlier quartet release (Music Update, made in 2008). ‘Discipline Meets The Offbeat One’ opens and is a brief harking-back to an old Hamp blues, and no, I don't know what it or any other of the titles mean. There are no explanatory notes but that's no real drawback when the music is as stimulating as this is. It leads into ‘Offbeat Personality’, which has Marsalis improvising lucidly over a rumbling drum commentary before Johnson solos. ‘The Man With Two Left Feet’ limps along as oddly as you might expect whereas ‘Nights in Brooklyn’ echoes the George Shearing vibes-piano sound and is really quite solemn as Johnson offers his own subtle variations on Errol Garner's laid-back style and Marsalis is similarly restrained. Potter's lively drums set up ‘18th Letter of Silence’ as a swinger with a neat shape to it, Marsalis opening up in fine style and Johnson taking off impressively in Tyner mode. ‘Blues for Now’ opens and closes with a brief multi-track of marimba-vibes ‘Chinoiserie’, before moving into a relaxed and very engaging groove, very much in MJQ mode, as Goble solos. ‘Interzone’ by Cliff Hines, is another exercise in clever percussive variation, Johnson tempestuous as Potter and Marsalis see out a chorded riff. ‘BP Shakedown’ opens with an uncredited verbal statement relating to BP's disastrous overspill and then moves into a sombre repeated figure. The title track is a typically perky riff, again voiced as a vibes-piano harmonised line before Johnson and Potter break ranks and Marsalis toys with the ‘Saints’, ahead of Johnson's romping finish. The variety of moods here, the balance between the thoughtful and the extrovert in both playing and compositional intentions, make this a very rewarding release. Meanwhile, I'd certainly like to know more about Johnson, Goble and Potter. Marsalis says this album represents ‘The Modern New Orleans Scene’. If so, the music is clearly in very safe hands.