The NYC-based saxophonist explores his first generation Mexican-American roots with a gritty mix of muted free jazz bluster, elongated lines and a tone that sits somewhere between John Tchicai and Warne Marsh. He calls his band ‘Paloma Recio’, which translates as ‘Loud Dove’, a great descriptive for this set of themed collective improvisations loosely (to these ears) organised into the four-piece suite of the title. Opening track ‘Glass’ begins with smears of bowed bass and echoey guitar and builds to a quiet but powerful overlapping skitter. The tricky-butcatchy theme of ‘Artifacts’ unfolds over solid walking bass before the improv finally evolves into a crunch of suspended Nordic guitar. And the final pieces are set up by unaccompanied solos – ‘Hive’ by Malaby's squeaky phonics on soprano sax and the 17 minute ‘Procedure’ by Opsvik's ruminant double bass. Malaby's credits include Charlie Haden's Liberation Orchestra and Paul Motian's Electric BeBop band. Here his oblique lines and understated phonics blend and bounce off Ben Molder's empathetic and gritty guitar. And Waits and Opsvik's cushion of rhythm is delivered with commitment and a strong pulse. But this seemed more like a record of a solid live performance and with the word ‘Suite’ in the title, and comparisons with Joe Lovano in the promo, I was expecting something more.