When Oliver Lake formed the World Saxophone Quartet in 1977, it enjoyed remarkable success for a so-called avant garde group. In demand at festivals across the USA, Europe and the rest of the world, it proved influential in launching the career of rising star David Murray, and focussed overdue attention on Oliver Lake, who had hitherto hid his light under the bushel of the Black Artists Group in St Louis. With the World Saxophone Quartet, Lake seemed to arrive on the international jazz scene fully formed.

While he had clearly taken account of Eric Dolphy – he even recorded a tribute, Dedicated To Dolphy, on the Black Saint label – he built on Dolphy’s achievements within the context of a highly personal style of his own that was both expansive and versatile enough to fit into a variety of playing situations, so avoiding being labelled ‘avant garde’. Impala, one of six albums he made for the now-overlooked Gramavision label, is a case in point. Even now, a piece like ‘Lef’ Sided’ compositionally, conceptually and in its execution sounds ahead of its time. Surrounded by younger musicians, not least his son on drums on this track only, there is the added bonus of pianist Geri Allen’s playing, who in tandem with Lake makes this the rewarding listening experience it is. Mature beyond her years, her musical wisdom fully grasps Lake’s style, providing resolution to his daring note choices and wholly sympathetic comping which add to the vitality of these performances. At his best, Lake flirts with genius; his compositions have genuine substance and his playing reveals an astonishing clarity of conception and execution. Gently pushing the listener out of his or her comfort zone, his playing is as much a dialogue with humanity as a conversation with the world. What is remarkable is how right his note choices are after repeated listening when you begin to grasp the magnitude of his conception. Without realising it, he has broadened your taste preferences and that’s pretty heavy stuff.