The growth of Tyshawn Sorey’s piano trio has been fascinating to watch for the emergence of a strong group identity, which makes the point that there are traditions – rather than a tradition – in improvised music. Above all, the question the drummer asks of terms such as ‘hot’ and ‘cool’ is as engaging as it is thought provoking when one considers not the apparent opposition but perhaps actual commonality between the two schools.

The epic opener ‘Peresina’ is a case in point. One of McCoy Tyner’s most masterful big band works is vividly re-imagined for the small group. However, his trademark domino topple chromatics are turned into an easy breathing string of chords taken at half-time, which brings the spirit of Ahmad Jamal into play. Sorey’s crisp, curt rimshots and Harish Raghavan’s quivering double bass make a perfect frame for Aaron Diehl’s sensitive but resonant figures before they up the tempo and start to cook without losing any of the previous poised elegance.

Elsewhere, a finely imaginative reading of Mingus’ ‘Chair In The Sky’ confirms the impression that Sorey is fulfilling an excitingly holistic vision of modern music in which the past in its many manifestations is part of a fruitful, lateral exchange with all things present.