Although Garrett has played a fair amount of electric music throughout his lengthy career, notably with Miles Davis in the 1980s, he has become of late the archetypal acoustic warrior, with his post-millennial output geared mostly to quartets or quintets with outstanding rhythm sections. Yet while the spirit of one of his key role models, Cannonball Adderley, runs through his work, alto giant Garrett has been anything but conservative. Here his modus operandi entails subtle subversions of the vocabularies of swing and post-Trane modalism, pushing traditions from within rather than without. Afro-Cuban percussive elements are infused to create something that is not standard latin-jazz, soulful backbeats are deployed to create something that is not soul jazz and the excellent Mista Enz drops rhymes in a setting that is not jazz-rap. Familiar waltzes with unfamiliar. Although Garrett has no compunction in embarking upon the improvisatory flights of fancy that brought him worldwide attention in the first place, and his chops are still in great shape, he is perceptibly restrained on a lot of the material, which is as much song-based as solo-centric. The net result is music in which artistic integrity is not at odds with accessibility, and if Garrett has been able to catch the ear of ‘urban’ audiences then it’s also worth noting that he led 2,000 people in riotously singing back his choruses when he appeared at last year’s superb Jazz Sous Les Pommiers festival in Normandy, France. They did their dance while he did his.