By naming their jointly-founded label as they did, Roberts and the Fishwick brothers made clear their creative intentions and haven’t deviated since. Good for them and good, specifically, for Roberts whose debut ‘name’ album this is.

Past notices have referred to his early Rollins sound and viewpoint and there’s nothing here to suggest any other inclination. What he has added is greater assurance, and a desire to build complex ideas and the confidence to accomplish them. In short, he has the hard bop tenor style sorted, this a calling card to savour. He has also picked well-crafted but lesser-known originals by composers he admires, plus a couple of standards to work on. All that and rhythm section players who think as he does.

Roberts relishes tackling pieces with complex shapes, as with ‘Zec’ by Thad Jones, taking its jagged outline at speed, and laying idea upon idea as he improvises, Barron equally nimble in solo. Tadd Dameron’s ‘Theme of No Repeat’ is handled more calmly, Roberts threading his way through its slightly arcane structure with Barron excelling in a fast-moving solo, the swing groove just right. ‘Time Waits’ by Bud Powell, is pensive as if in tribute to a past master, Brown poised as he is throughout.

Barry Harris’ ‘Seein’ Red’ is pure bebop, the tenor trenchant and to the point, Barron’s solo like a master class, literate and crowded with twists and turns. More good things come with Shirley Scott’s ‘Big George,’ Roberts quick on the draw, and ‘I’ll Remember April,’ taken slow, tone and tempo throttled down. Brown and Fishwick solo capably and support superbly. Fishwick says that Roberts is underrated and deserves wider recognition. This should do the trick.