In a blindfold test, I’d have sworn this was Jeremy Pelt or even Wallace Roney. And I’m embarrassed that I’ve never heard Raynald Colom before. The 34-year old French-born, but Barcelona-based, musician is a simply superb trumpet player and this album is unquestionably one of this year's best of the best. Though Colom says much of the music is, at root, flamenco-based, the basic inspiration has to be the Miles Quintet of the mid-1960s with contemporary overtones. The opening 11-minute Shorter-esque ‘Ouverture’ is very similar to what Pelt's band has been playing, with an outstanding trumpet solo, followed by some fine torrid tenor playing by the Wayne-Trane influenced Pukl before everything stops and the remarkable Ortiz starts to state his case and builds it all up again. Sounding African, Spanish and American, Carter is prominently featured in the even more emotive longer ‘El ’Baka’, with Pukl's yearning tenor and featuring political ‘spoken world’ by Core Rhythm, in the tradition of the legendary Last Poets, very much an acquired taste. Then comes Colom with the Spanish strings and the first of two short scores inspired by Bartók and Aaron Copland. Later, a total change of mood and a true French chanson soulfully sung by Sofia Rei with a heartbreakingly plaintive solo by Colom. All change again for a piano-trumpet duo treatment of the Bix Beiderbecke classic ‘In a Mist’, with both musicians respectfully honouring the early days of jazz. Another up-tempo tune, ‘La Liegada’ is again fairly free in concept, with robust Rudy Royston drumming. This rhythm section, by the way, is absolutely superb and the whole album (spoken word tracks permitting, perhaps: though they’re both strongly relevant to Colom's album concept) is an absolute gem. Please investigate.