How many jazz albums being made today will be remembered, discussed, played and replayed in 12 months' time, let alone 12 years' time? In fact, the notion that an album will last beyond an artist's lifetime, as in the case of many classics from jazz's Golden Years in the 1950s and 1960s, seems a thing of the past. Yet Modern Jacobite, by the strength of Tommy Smith's epic ‘Jacobite’ suite, certainly has the potential to last beyond Smith's lifetime. It's described by Smith as a symphonic piece featuring saxophone, but since Smith is at pains to distinguish ‘classical saxophone’ – for example, the formal ‘classical’ saxophone style adopted by Branford Marsalis during his classical recitals, such as John Adams' ‘Saxophone Concerto’ – and Smith's approach of bringing the greater expressivity of jazz saxophone into the forum of ‘symphonic music’, surely a better description for this music would be symphonic jazz? In so doing it answers the music marketeers dichotomy – what do you call an album like this, because if you don't call it something you can't sell it. In any event, ‘Jacobite’ is a masterful piece of music in three suites, with a leitmotif of two Scots folk tunes woven through the fabric of the piece that provide developmental passages within the ebb and flow of the music. Smith's writing is highly sophisticated and it is difficult to think of anyone in European jazz today with such deft compositional, developmental and arranging skills. And, in case you hadn't noticed, Smith, like Roald Dahl's BFG, has grown immeasurably in stature with this performance.