Drummer-led sessions usually fill me with trepidation; too much percussion can dull the brain, I find. Not so this time. Farnsworth [who with Washington] is a preferred member of Smoke’s default rhythm team, keeps his part in things balanced and appropriate. Perhaps it’s the presence of Barron that suggests moderation, the pianist’s inbuilt sense of swing and innate feeling for form invigorating every piece. Now well into his eighth decade, Barron’s desire to play and his capacity for pleasurable invention still impresses: you get a sense that he’s right on top of these songs, knows them through and through. This is immediately evident on the opening ‘New York Attitude’, up-tempo, Barron’s intensity and drive quite exhilarating. Farnsworth putters along, accents aplenty, and takes his breaks tidily while Washington is the reliable fulcrum that he always is. In contrast, Barron’s take on ‘The Surrey With the Fringe On Top’ is calmer but still nimble, Farnsworth propulsive on brushes with Washington’s poised line a standout.

Farnsworth contributes several originals including the title track, a blues on which Barron sets a timeless, ingratiating groove, and the bustling ‘No Fills’, the drummer sticking to his word.

Trio jazz of this quality is to be prized: Barron and company seldom disappoint and haven’t this time.