Bit of an instant classic here in composition tunefulness terms drawn from Rule of Thirds (Outside In Music, 28 April). Not in case you were wondering a version of the Junior Mance blues of the same name (covers of that would be very welcome by the way) but an original instead from on-the-up-again US saxist Alex Weitz. Classic, how come? Because it sounds like you have heard it before but chances are you haven't. It taps a timeless sense that often is found in acoustic heart on sleeve jazz of the 1950s, 60s and beyond - in other words tunes that seem to evoke however subjectively the essence of modern jazz distilled especially to a harmonic and ''feel'' sense no matter how much the tempo is taken right down to drift along softly. Weitz swerves away from being overly fogey-ish, derivative or cheesy. Tonally a candy store but not twee in terms of the not too vibby tenor sound think the bracing burr of the Blanchardian Brice Winston a bit - Joshua Redman maybe even more. Guests on the new album include pianist Emmet Cohen, drummer Ari Hoenig, Wyntonite trumpeter Marcus Printup and guitarist Yotam Silberstein. The bass solo on the track by Ben Tiberio works very well. 'Harlem Lullaby' pianist is Tal Cohen who detours into the realm of the Romantic composers about two minutes before the end and that blending works as he vaults octaves and goes ornate up into the nosebleed end of the piano sprinkling a tincture or two of tinkling as unexpected balm while teetering there. Alex Weitz, photo: press