By the time he was 30, Green had played piano for Betty Carter, Art Blakey, Freddie Hubbard and Ray Brown before becoming a regular fixture on the European festival scene as well as an occasional visitor to Dean Street. It was always a treat to see him play as there was energy, drive and sheer boppish delight in his performances. Blue Note and then Telarc had him under contract; for a moment he was being hyped as the next Oscar Peterson. That was then, and this is now.

These days he's a rather more mature 57-year old, and an established jazz educator who for this new release has decided to give the Fender Rhodes an airing. It's his main instrument here, the trio augmented on a couple of tracks with Drummond's quite beautiful flute. The majority of the 11 tracks are short – mercifully short, in my view. Bass and drums are only present on half the tracks; otherwise it's Green on his own, often playing out of tempo, the animation low and the lack of nuance in the Fender's sound only too apparent. Yes, there's some real momentum on Kenny Barron's ‘Seascape’ by the trio, with some decent right-hand runs but that's just about it. If I say ‘lift music’ it's with a note of genuine regret for what might have been.