The notion of ‘in’ and ‘out’ sounds being able to live together is nothing new, whether or not you care to call it ‘freebop’ or anything else.

The likes of pianist-composer Orrin Evans is a convincing addition to the debate, even though he has been largely tagged as ‘straightahead’ in his 25-year career. His strong gospel and blues inclinations may have come to the fore on several albums for Dutch label Criss-Cross but he has long thrown curve balls in his writing and playing, as can be heard on his work with The Bad Plus. The Red Door confirms Evans’ ability to make music that has rhythmic and harmonic spikes and jolts amid its steady soulfulness.

Many of the well-written and arranged songs here have what could be called a quiet subversion, with some themes quite curt and static rather than lengthy and dynamic; while the chords make dissonance and consonance allies rather than enemies. The reprise of a few standards is done with measured flourish, and Evans, who plays with seasoned authority, has assembled a grade-A core band and multi-generational guests, including the likes of Buster Williams, Marvin ‘Smitty’ Smith and Jazzmeia Horn, among others.

When Evans appeared in Britain as a young man in Carmen Lundy's group 20 years ago, he was a talent in the making. This is the work of a talent properly made.