The influence of Miles Davis’ second great quintet on Nicholas Payton’s music began when the trumpeter/composer was barely in his teens; the live album Four and More was the catalyst. Here, it surfaces in sudden changes of mood and pulse, the reassuring presence of Ron Carter’s bass and a cameo role for George Coleman, one-time Davis sideman, on tenor sax.

But there the similarity ends. Payton’s trumpet aesthetic is imbued with the brash flavours of New Orleans and he has taken on board the more recent grooves of hip/hop and R&B. Peyton also doubles on piano throughout the set, making this more of a trio album with added guest than a free-flowing quartet. And when the pulse switches to swing, the feel is more sedate.

The album begins with ‘Hangin’ and Jivin’’, a boogaloo, and continues with the changing gears of 'Big George', a highlight feature for Coleman’s sax; the veteran returns later for the smoky 'Turn-a-Ron'. 'Levin’s Lope' is a bossa, and 'No Lonely Nights' and 'Q for Quincy' are ballads which turn to swing.

The most successful tracks reference hip/hop and R&B. Fender Rhodes sets up 'Gold Dust Black'', an acoustic piano fugue sensuously introduces “Lullaby for a Lamppost” and both tracks present the Payton trumpet at its best. Herbie Hancock’s 'Toys', a duet with Carter, references the ‘Hancockian’ roots of Payton’s piano aesthetic and is the album’s final track.