In such a short space of time, the Doncaster-born pianist and composer John Escreet has made quite an impact on the left field NYC jazz scene. Following his relocation there from London four years ago to study at the Manhattan School of Music, he released an excellent recording debut Consequences in 2008 which was well-received by various sections of the US jazz media. The follow up is of a similar high calibre and features the same cutting edge quintet apart from Jason Moran's drummer Nasheet Waits replacing Tyshawn Sorey on the drums. Escreet likes to ratchet up the tension and sense of mystery with compositions that possess a Dave Douglas-type angularity and otherworldly harmonies. But he also knows there can be no tension without release and a contrasting calm can be heard in places too. On hand is two of NYC's most compelling creative musicians, the saxophonist David Binney and trumpeter Ambrose Akinmusire, the latter an outstanding young soloist who recalls Woody Shaw in places. One of two Binney-Escreet collaborations, the haunting, entirely improvised ballad ‘Gone But Not Forgotten’ is a highlight, while ‘Soundscapes’ with Binney on electronics instead of sax, could be an outtake from the Bowie-Eno 1970s electronic rock classic album Low. The only non-original Muhal Richard Abrams’ ‘Charlie in the Parker’ works very well too, and follows in the footsteps of Jason Moran, Escreet's ex-mentor at The Manhattan School, with its addition of spoken word extracts taken from an interview with Bird by Paul Desmond. Although the quirky avant-garde leanings of pianist Andrew Hill are one of the key sources of inspiration for Escreet, this is a recording revealing a wide spectrum of influences. You would guess from that, the 25-year-old is still trying to find his feet. But that just isn't the case. The volatile, experimental nature of this and the last recording doesn't give rise to confusion at all: Escreet develops everything in a suite-like fashion marking new territory with thematic clues while treading a path between jazz improv and advanced composition with both logic and guile.