In what now seems an unstoppable process, local modern jazz from the 1950s, sometimes thought of as being a poor substitute for the real thing, is being reissued at a rate and it turns out to be rather good after all. Harkit, no doubt prompted by expert sleeve-note writer Simon Spillett, have plundered the Esquire back-catalogue and culled tracks from a number of sessions, two of which feature Scott-led groups; the remaining five run by others of his then friends and associates. None has appeared on CD before. To Scott first, silky on ‘I Cover The Waterfront’ with US guest Coluccio rhapsodic in Tatum fashion, the tenorist Getz-like on ‘Tangerine’ and ‘How Am I To Know’, with the pianist more boppish. Scott’s pair of band tracks are overwhelmed by Seamen’s drum bombardments and leave little space for the soloists, though Shaw sparks briefly and Green gets a turn on baritone. Deuchar is the album’s standout soloist via his two quartet sessions, always lucid, fluent, his ideas unfolding rewardingly as each solo extends. It’s the sparse piano of Shannon that is similarly attractive. Feldman on vibes with Pollard is superb on his two tracks. Group-wise, the very best comes with the Whittle-Christie quintet on two pieces, the energetic Derek Smith on piano with bassist Watts and drummer Taylor swinging hard. The co-leaders solo with aplomb, their interplay just right. There’s brilliance here, this varied collection allowing glimpses of what was a more vibrant scene than is sometimes recognised. It’s good that Esquire’s Carlo Krahmer had the necessary belief to record these people. More please.