The interest in fusion today among young musicians is a curious thing. The long hair and flares of the 1970s and horrible mullets and muscle shirts of the 1980s may be gone (hipster beards are there in place), but the desire to play fast and loud is alive and well. Yet, for all the fireworks and finesse mustered by Weather Report, Return to Forever and Chick Corea's Elektric Band, this new generation seem hell-bent on taking the notational density to new levels. It's debateable whether this is a good thing, of course, and here fired-up foursome Spirit Fingers embody all that is good and bad about generation X and Y's gung-ho passion for power playing. On the lyrical side of things, pianist Greg Spero has a way with plaintive looping patterns – best heard on the moody ‘Try’ – and is adept at building solos of great melodic richness. So too is bass prodigy Feraud, a former McLaughlin and Corea sideman, with an uncanny ability to create a kind of Zawinulesque blur of notes whose tumbling harmonic logic pulls you in. Italian nylon-string guitarist Chiazzolino plays the Di Meola role with panache, but after several face-melting blasts from Feraud offers little by contrast. The group really dazzle when piano, bass and guitar combine for some truly jaw-dropping unison lines. The downside of this session is the technical battery of drummer Mitchell. I caught him live with Stanley Clarke at a recent London concert and it was a similar story there, with this Young Turk's astonishing technique impressive for the first 10 minutes of the gig, but soon had you begging for space and simplicity away from the polyrhythmic barrage. Spirit Fingers score points for keeping the jazz-rock-fusion flame burning, but it's Mitchell's frenzied drum-fills that eventually beat ears and brain into submission.