Birmingham-born but a Londoner now, young Smith has found a tenor style that suits him, taking his inspiration from the likes of Dexter Gordon and Stanley Turrentine. In a 10-piece selection, with all but one item composed by him, he shows a predilection for extended, often fast-moving improvisations, each solo building nicely.

The opening ‘Might Not’ uses a shuffle rhythm, Brown keeping it moving, as Barron does what he does so well in all the contexts in which he appears, offering crisp bebop style piano. ‘Iroquois’, a contrafact for ‘Cherokee’, opens with a firm tenor statement, making me think of Wardell Gray who also figures on Smith’s list of heroes, before Barron tears into the fray, his solo crowded with incident as Read and Brown light up the tempo, the final ensemble figure quite neat.

The title track is more leisurely, Smith relaxed, ahead of ‘Whadda Know?’ which would have pleased the 52nd Street crowd back in the day. The likeable ‘Wardell’ has a nicely intricate theme, with more fine Barron filigree and Brown and Read doing their stuff admirably. ‘Out Into The Daylight’ is a cleverly devised second glance at the harmonies of ‘The Way You Look Tonight’ and feels good all the way through. Smith is clearly a talent to watch, with a good sound, plenty of technique and bags of ideas. He has also had the good sense to enlist Barron, tip top himself in this context, as are Read and Brown too.