Kemp is a busy presence on the local scene, keen to tour and a jazz club standby. This is his organ band – he has several other outfits – teaming him with the omnipresent Stanley, with Fishwick or Auckland added on three of the 11 tracks. The aim, he says, is to evoke the Blue Note hard bop style but with ‘something new’. Most of the pieces are original, some inspired by his travels or by more domestic situations. His ‘Shrift’ is full of Blakey-style declamatory riffs, the fusion with Fishwick working well, Higginbotham clattering behind before the trumpeter sets off on fast-moving, skittering runs of his own, always tilting upwards, before Kemp's quite sober tenor enters, the phrasing similarly convoluted, as Stanley adds chunky class. ‘Spin’ is a tad more relaxed, with Fishwick's second contribution arrow-like in its direction, the tone thinning as he reaches high, the groove of the album's title achieved, Kemp more spacious in his post-Gordon manner. I'm inclined to the view that Stanley is the session star, always turning in pleasing solos, time and line in happy accord. ‘Turn on the Dark’ and ‘Take it Or Leave It’ voice tenor, organ and guitar together and are the better for it. Franks (an associate of Kemp's in the E17 Collective) is impressive on both, as is Auckland during his one-off contribution on the lyrical ‘Angel of the North’. Harry Warren's ‘The More I See You’ is a well-wrought quartet reading, tenor uppermost, Kemp's sound plaintive, technique well-deployed. Hard to go wrong on a good tune: a point confirmed with Kemp's balm-like version of Bach's ‘Air On A G String’. Plenty here to commend with even better to come, I imagine.