London-based pianist Bryson has studied extensively in the both the UK and US, including time spent with the late bebop master Barry Harris and it shows. He takes Lee Morgan’s sprightly ‘Mogie’ for a torrid run, Brown and Fishwick on his tail. As our own Brian Priestley points out in his extensive booklet note, Bryson has the confidence to change direction and to turn on a sixpence as he looks for inventive outcomes. ‘Con Alma’ is calmer, Bryson handling its varied elements with aplomb, Fishwick up for everything, the pianist swinging ably in his main solo. Cole Porter’s ‘In The Still of the Night’ may never be the same again, given this fast-moving and strongly linear deconstruction, Fishwick excelling in his solo. Bryson turns the gas down again on ‘You’re Mine, You’ before re-stoking the fire for Ray Bryant’s funky ‘Chicken An’ Dumplin’s’, opening up in bluesy fashion, Brown’s solo an adornment before the pianist takes on the old classic ‘After Hours’ at walking pace, the right hand trills like a South Side concerto. That done, he finishes with a very relaxed version of Basie’s immortal ‘Li’l Darlin’’. So, a debut album to cherish, full of surprises, not least in the choice of material to play, and refreshingly creative in both its execution and intentions. Hard Bop maybe, but easy to enjoy. More please.