This is the third album of Lonnie Smith's highly productive return to Blue Note, and the second drawn from his 75th birthday celebration at New York's Jazz Standard in 2017, after All In My Mind (2018). His preferred club setting keeps specks of funky grit in his Hammond trio, augmented with sometimes orchestral-sounding brass. The taping is intimate enough to hear the B-3's keys click, as ‘Too Damn Hot' settles into a sultry prowl, conjuring remembered visions of early 1960s American urban cool, crisp shirts sticking in the summer heat, till a Mod-like marshalling of the groove. ‘Track 9' is more abstract and neurotically unsettled, and ‘Pilgrimage' is pure church chops, featuring Olicia Olatuja's stately, yearning vocal, holding power in check till a final high note met at its pinnacle by Smith.

The Doctor's Florida neighbour, Iggy Pop, brackets the live tracks on two studio covers. Detroit punk's unusual jazz hinterland was certainly present in the primitive genius of Pop's band The Stooges from 1967. The last decade has also seen him croon chanson, and sink into contemplative jazz soundscapes on last year's Free, while his BBC 6 Music show is the most wide-open canvas on which to hear his connoisseur's taste in Coltrane and co. ‘Why Can't We Live Together' (a 1972 R&B hit for Timmy Thomas, revived by Sade in 1984) offers Iggy as a committed, pacifist crooner, though peripheral to Smith's stabbing accents and Johnathan Blake's snapping snares. Donovan's ‘Sunshine Superman' is more successful, Iggy suavely speaking the 1960s pop vernacular, till you can feel the rangy, easy connection in the room. Smith's career-long comfort with pop forms and communication pays off again here, as does his enduring, unfussy commitment to his own Hammond art.