Jazz Bird label boss Goeff Hoefer rates Hammer as among New York’s best straight-ahead players and he’s dead right.

Now in his early 60s, Hammer’s approach to jazz piano is largely unchanged in that he continues to take inspiration from the likes of Sonny Clark and his generation of bebop players. This means fast-moving right-hand lines and clever rhythmic variations, as when he fillets a melody like ‘I Didn’t Know What Time It Was’ into a series of neat interludes, like scenes in a play, each sparking a nifty creative response.

‘They Didn’t Believe Me’ opens with a closely chorded outline, before Hammer sets off on a lengthy exploration, like an impromptu romp, ahead of Hudson’s solo, the pianist returning to play firmly-placed chords to usher in a solo by Williams. I liked their version of Tadd Dameron’s ‘Smooth As The Wind’, Hammer toying engagingly with the harmonies and then moving into a nimble swing sequence.

Clifford Jordan’s ‘Down Through The Years’ recalls Hammer’s own playing association with the late tenorist and is more considered, sober even, Hudson a second voice, Williams using brushes. ‘I’m An Old Cowhand’ is great fun, up-tempo throughout, and prompts Hammer’s best improvisation on the album, Williams powering ably, Hammer then chording in reply and making for the finish line. Monk’s ‘Epistrophy’ has Williams battering his way in before Hammer takes the zig-zag route. Hammer’s command of the idiom is unquestioned: just listening to his sibilant, whispered version of ‘I See Your Face Before Me’ is a joy. Piano jazz at it best.