Hobart has a big fruity sound with some added grit – imagine a ripe mango dropped in the sand – and he can go from rhythm and blues bar-walking to ‘out’ at the flick of an octave key. Lee sits more firmly in the jazz area of the music but he too is not afraid to add a good-time edge. Reid is the main pianist, with Keane just in for the opening title track; both contribute strongly. Gottlieb has great articulation and the recording finds his sweet spots, while Ford moves things along at a sometimes punchy pace. ‘Evidential’ is an effective reworking of Monk’s ‘Evidence’, giving it a modern, funkier character. It would have been good to hear the rest of the album dedicated to similarly revamped classics. As it is, the programme is a mix of originals with Mal Waldron’s evergreen ‘Soul Eyes’ the one familiar melody. Overall the album has its strengths – Hobart’s solo on Lee’s ‘Victory To The Underdog’ for example, and Lee having wah-wah fun on ‘Maces Paces’ – but they’re not always consistently realised. ‘Rosie’ sounds like another rehearsal or two would have firmed it up a treat. The recording is clear and close, separating the instruments nicely, though the splash cymbals drench the rest of the upper registers.