On his buoyant 2018 album , evokes the spirit of his late father, saxophonist (who died in 2006), and the elder 's adventurous work with longtime friend and bandleader . Specifically, the younger draws inspiration from 's band, which also featured his father along with cornetist , drummer , and bassist . An outgrowth of 's earlier '60s quartet, (which was active from 1976 to 1987) was a boundary-pushing ensemble rife with bluesy lyricism, atonal harmonics, and frenetic swing. This was heady free jazz, but with an earthy '70s soulfulness. Much the same could be said of 's group here, as each of the players in his quartet, including trumpeter , bassist , and drummer , has a similarly kinetic, almost preternatural sense for group interplay. Here, they play a mix of newly penned originals plus two covers, inspired by 's band but in their own thoughtfully mutative style. As modern-day torchbearers of 's forward-thinking jazz sound, and his bandmates are fairly well matched. Cornetist has long evinced the probing qualities of 's "freebop" style. Similarly, has a driving, organic rhythmic sense that recalls , and literally studied with . For 's part, the lithe, aqueous quality of his playing feels right at home within the slippery quartet. Tracks like the jaunty bop-inflected "New Year" and the nervy klezmer-funk of "Unanimity" feel like lost bonus tracks from -era . Similarly, cuts like the languid "Haze and Aspirations," with its extended bass intro, and the spare, aptly titled "Blues for Charlie," with its call-and-response group improv, bring to mind the rootsy sound of the late '70s. Elsewhere, applies a classical artist's sense for a reverent interpretation of 's "Playing" and 's "Comme Il Faut," as he and his band vacillate between long dissonant lines and aggressive, molecular sparring. ~ Matt Collar