Electric Miles is still terra incognita for some; the point he left jazz, or went somehow mad. Bitches Brew's brooding, splintered paranoia isn't on Laura Jurd's agenda. The abrasive tone of Elliot Galvin's Fender Rhodes, though, and the way Jurd's trumpet wraps mournful tendrils around the bassline on ‘Awakening’, after distantly roaring as if across a primeval forest clearing, inevitably recall Corea and company roughly sculpting a new sonic world. Rechristening her regular quartet Dinosaur gave fair notice of their thrilling power live, where they're as likely to fly into soulful Sly Stone or JB's terrain. Their debut album, though, is a considered studio production, with a sense of space and shape. Though all Jurd compositions, Galvin often takes the lead. Switching to Hammond for the slow-rolling funk of ‘Extinct’, he's back on Fender for prog-soul riffing on ‘Primordial’ which recalls Van der Graaf Generator's Hugh Banton. Then he slips below the tune's surface on Hammond, becoming its smooth engine as Jurd sunnily soars, and Dinosaur stretch and strut. Jurd also offers warm balm on ‘Robin’. Her band's focused joy replaces the darker eddies Miles traversed.