First, the Baratta story: Born 1950 in Poughkeepsie, NY. Reeds initially, then drums; to New York in 1975, played with the best modernists; in 1984 moved into movie production; around 50 film credits so far; returned to music in 2016, keeps both activities going, often leading bands in Big Apple clubs.

Off the Chart is his third album since resuming playing, and homes in on less-known compositions from important albums by Bobby Hutcherson, McCoy Tyner, Charles Lloyd, Joe Henderson, and Chick Corea, plus a pair of standards by Wilder and Arlen. Star tenorist Bergonzi plays on five of the nine tracks, with Rossman added on three: it’s Bergonzi who steams in to Hutcherson’s ‘Herzog,’ imperious and bristling with ideas, Kikoski not far behind as Baratta shows that he’s fit for their company.

Then it’s ‘Molten Glass’ by Joe Farell, at ballad tempo, Bergonzi sitting it out, Kikoski relaxed and eloquent, a neat Patitucci solo alongside. Bergonzi is lucid on Wilder’s pretty ‘Blackberry Farm,’ the sound high-pitched but contained, Kikoski relishing the harmonies over a walking bass line. ‘Peresina’ is a Latin showcase for the pianist, trio only, his playing engagingly melodic yet forceful. Henderson’s ‘Afro-Centric’ gets a funkier reading, Patitucci playing a rock rhythm on bass guitar, Kikoski intent at the keyboard, tenor stompier than before.

Shorter’s ‘Lost’ is intriguing, the harmonic challenge prompting what the notes call ‘Kikoski’s own brand of kinetic energy.’ Patitucci opens Lloyd’s ‘Sombrero Sam’ as Kikoski and Baratta barter ideas and Bergonzi coarsens his tone. Corea’s ‘Tones for Joan’s Bones’ is another trio performance, the pianist’s exposition ebbing and flowing brilliantly. Much here to admire; welcome back, Mr Baratta.