According to his press blurb, Belgian bassist Kint has moved between genres during his playing career, taking in influences from pop, rock, world and classical music. Here, though, it’s his jazz quintet, Brussels-based, which works through nine compositions, all his and often quite fragmentary, their mood shifting from the jubilant to the baleful, the quintet members entering and re-entering their layered ensembles.

That these musicians know each well – they’ve played together for eight years - is evident on the opening piece ‘Train of Dots’ with Salemi heard initially before Capens comes in, tentative at first, over a persistent drum pattern, the thematic motif quite engaging as the intensity builds. Plucked bass leads into the more cheery ’Wan.de.len’, the tempo almost danceable, Capens weaving his way through the rhythmic undergrowth in agile fashion. ‘Fontanelle’ is the odd one out, Capens’ clarinet hollow-sounding, free of vibrato, sotto voce really, its hooting, ghostly sound, suggesting a misty, filmic background. ‘Glinstergloed’ offers more spookiness, Capens grinding and groaning on tenor, bass in pursuit, kicking ahead then fading away.

‘Piedade’ has a calypso beat, the tempo danceable, the collective endeavour gradually coalescing into liveliness and exuberance. So, Kint’s music may be hard to classify, as well away from more usual conventions as it is, but there’s probably enough going on to intrigue the open-minded listener.