The love letters to hard-bop keep coming. Ugandanraised Kavuma's UK CV ranges from Brixton pub nights to the National Theatre, a carnival band to Dexys and, perhaps most tellingly, a solo spot with jazz's most articulate conservative, Wynton Marsalis. His adoration of classic Blue Note sides is impossible to argue with, and there will always be a place for such beautiful, comforting sounds live. The pressing need for new albums in this strip-mined mode is, though, less clear. A band including Dinosaur bassist Conor Chaplin are all on this page, with Reuben James’ piano on the Wayne Shorter-influenced ‘Into the Darkness’ carbon-datable to 1962. ‘Barbar G’ reaches further back for the post-war noir of an intimate nightclub ballad. Kavuma grew up with what David Murray calls “church chops”, and ‘Abide With Me’, reimagined as a soulful New Orleans dirge, achieves a more personal hybrid. ‘Church’ is intended to evoke the atmosphere of formative East London jams, but with its bright, Caribbean-inflected brass and Michela Marino Lerman's tap-dancing, would fit south of the Thames. Kavuma favours brass unison lines, danceable swing and concise structures in which his soloing cleaves to the melody in short, sometimes machine-gunrapid bursts. A Louis Armstrong quote on the sleeve attests that he's looking for heroes in all the right places. His love for his material is unimpeachable, but unsurprising.