There's no such thing as a cursory glance at Chris Potter's discography. Since the early 1990s, the multi-reeds virtuoso has chalked up more than a score of album credits as a leader and well over six times that total as a sideman, in contexts from flat-out postbop to folk and global music. A favourite Potter habitat is New York's iconic Village Vanguard club, where he has often led his own bands, and appeared several times in the late percussion legend Paul Motian's groups.

These tracks, assembled from Potter's 2022 performances there in an A-list ensemble including pianist Craig Taborn, confirm just how eagerly he embraces the chance to cut loose on a more or less straightahead jazz programme in ideal company - and this time, he's intentionally picked materials that haven't been sapped by over-exposure. Playing tenor throughout, Potter blazes through the soul-jazzy ‘You Gotta Move’ in a swirl and tumble of double-time flights, warped Sonny Rollins-like skids off resolving notes, stuttery phrases against Marcus Gilmore's steady smack, and contrastingly rich low-tone figures.

Milton Nascimento's ‘Nozani Na’ meanders a little, but Billy Strayhorn's ‘Blood Count’ spotlights the spontaneous melodic rapport of Potter and Craig Taborn, as does the warp-speed torrent of Charlie Parker's ‘Klactoveedsestene’. Jobim's and Chico Barque's ‘Olha Maria’ is the most sensuously lyrical of the slower performances, and the hooky, earthily emphatic title track wraps the set to roars from the crowd in a stomping, drums-driven finale.