Logan Kane, the 26 year-old West Coast bassist and composer, has been making waves on the LA scene since he released 2020's Nope, science album, a nonet session that showed how creatively he could splice post-Ornette jazz and freebop with contemporary-classical ideas, avant-rock (he also meets Zappa and funk as bassist with LA's Thumpasaurus band) and the current LA scene's burgeoning energies.

But Floor Plans is his impressive first recording for an acoustic jazz quintet, with tenorist Mark Turner and trombonist Jon Hatamiya guesting on one track each, and John Escreet and Paul Cornish splitting piano duties.

The 14 tracks, many short, veer from briefly virtuosic bass solos against deep-humming electronics, and darting, chatters driven by pumping piano hooks and slamming drums, triggering staccato sax melodies that develop in hyper-bop zigzags and detours. 'Where Within' is one of the latter, with a hard-struck piano vamp igniting a scorching David Binney alto solo bridging growling multiphonics and long-lined fast improv. 'Labor Day For Machines' highlights Kane's imaginative balancing of brittle themes with graceful countermelodies and bold harmony changes; 'Stuck' is a wonderful futuristic cop-show cliffhanger as John Escreet's fast-walking piano figure pounds under Binney's urgently swerving theme and then erupts into dissonant Cecil Tayloresque fireworks.

The funky 'DSP' lets the leader's electric bass virtuosity loose; 'Spiders' is a patiently-unfolded ballad that briefly shifts between peaceful dreams and fraught ones; and 'Mountains' is a postbop showcase for Mark Turner's quick-thinking lyricism. It's rare for genre-fluid jazz-infused contemporary music to sound as engagingly vivacious as this.