Noah Preminger's last album was a set of protest-themed originals and covers timed to coincide with the inauguration of President Trump. This all-original set grew out of the saxophonist's habit of recording his practice routines, and has more intimate inspirations. As before, the line-up is a piano-less quartet resting on the firm foundation of Kim Cass' double-bass and trumpeter Jason Palmer is a spiky melodic foil to Preminger's focused lyricism on tenor sax. But with Dan Weiss on drums, energy levels are higher and there is more polyrhythmic thrust. The opener, ‘Halfway to Hartford’, ‘Mad Town’ (Madison, Wisconsin) and ‘Nashua’ (a rust belt city in New Hampshire) all reference places Preminger has visited. All three deliver a strong sense of time and place, the first bustling angular lines and an intricate opening unison theme, the others interweaving trumpet and sax and a sense of melancholy. ‘Ah’ is for guitarist Allan Holdsworth, who died last year – “I imagined it as something Holdsworth might have come up with”, writes Preminger on the sleeve. ‘The Genuine One’ borrows an obscure bassline from Yusef Lateef's Eastern Sounds, there are tributes to Ornette Coleman, John Coltrane and a blues. Preminger's quartet stands in the lineage of classic piano-less quartets – his sleeve-note description of Jason Palmer as “Don Cherry with chops” took the words out of my mouth. But Preminger's compositions, understated, blues-slanted lyricism and his band's mutual rapport give the form an original slant. Genuinity, his fifth piano-less quartet recording, shows Preminger's band shaping up to rank with the best.