Over the past decade Lehman has proved himself a thrilling forward thinker, recording several albums that vividly capture Internet Age energies. Yet he has never downplayed the importance of his musical forebears, be they Henry Threadgill or Jackie McClean. Here he puts another provocative slant on the past-present debate by combining several originals with interpretations of early 1990s pieces by Jeff ‘Tain’ Watts, Kenny Kirkland and Kurt Rosenwinkel. These ‘alternative standards’ make an important point about the growth of composers at a time when there was arguably more kudos afforded soloists, and Lehman's focus on the finer points of Watts' ‘The Impaler’ gives much food for thought on the musicality as well as virtuosity of the drummer who was such a vital member of Branford Marsalis' memorable quartets. However, the segue of that song and Lehman's own ‘Echoes’ is fascinating for the way it shows the alto-saxophonist's ability to create densely-layered pieces that nonetheless have a needle-sharp rhythmic precision in line with programmed beats, hip-hop breaks and drum'n'bass pulsations. The visceral undercurrent that flows through the music is greatly enhanced by guest pianist Craig Taborn, whose hard, hammering chords and catapulting, non-linear motifs invigorate the scores Having said that, the Lehman trio – double-bassist Matt Brewer and drummer Damion Reid – is a formidable unit in which the former's weighty anchor and the latter's percussive whirlpool are entirely appropriate for the leader's laser-precise tone and mercurial phrases. Whether or not this is an acoustic offering there is an electric charge running through it, placing this fine band at the cutting edge of contemporary creative music.