On the fittingly titled Déjà Vu, JavonJackson looks to breathe new life into classic straightahead jazz. You can't find many tunes as well-trodden as opener ‘Autumn in New York’, but this consummate quartet line-up hardly break a sweat finding the sweet spot, thanks largely to Jackson's limpid-toned, good humoured, languorous phrasing and the elegant pianist Jeremy Manasia's perfectly pitched response. One of Jackson's key mentors, Cedar Walton wrote ‘Martha's Prize’, and the tribute from one ex-Art Blakey Jazz Messenger to another captures the saxophonist's discerningly shaped, succinct bop lines and the glide effect of David Williams' acoustic bass, as with Jackson, another former associate of the classic hard bop pianist-composer. Manasia's Barry Harris-inspired harmonies on the less well known Monk composition ‘Raise Four’ diverge from its crude, looping theme.

There's refreshingly little in the way of drama on Jackson's understatedly inventive take on Wayne Shorter's ‘Venus Di Mildew’ that edges into post­Coltrane territory merely to build tension. On their version of recently departed Jimmy Heath's ballad ‘Rio Dawn’, the band feel no urge to break out of super­chill out mode. Why bother trying to do something different when it feels perfect to be exactly where you are? Jackson, who's performed with such giants as Freddie Hubbard and McCoy Tyner, carries the torch for a new generation.