Hard bop - the 21st century guise. Certainly not the pulverising, galloping version of a style that is as stylistically broad shouldered as it exists historically decades long.

A closely aranged horn main statement on 'River Styx' reveals the Texas saxophonist - no newcomer.

The album naming is at punning pains to point this out directing us back subtly to 2005's Casually Introducing, an album to be frank that didn't make much of a mark then besides signalling that Smith certainly was and is a star player, his burnished tone and easy navigational sense modulating in and out of all the patterns at his disposal.

All these years on the tunes are better, the style even more honed but faithful to the beginnings.

Covering Kate Bush's 'Mother Stands for Comfort' was a very good idea and works in its own right - it's about a third longer than the Bush treatment (on the Hounds of Love version it's the great Eberhard Weber on bass and important on the song).

Smith is not at all a verbose interpreter and the bass part in the mix is more understated, the sax even dreamier than Bush's vocal line if you listen to both versions alongside one another. Matt Stevens' nimble guitar touches take on a contrapuntal significance.

With the saxist are Stevens, bassist Harish Raghavan and drummer Kendrick Scott and with every note making his mark as is his wont trumpeter Ambrose Akinmusire lifts us up. An album that is ridiculously easy to admire and enjoy but nevertheless harder to adore, Smith's rapport with not-to-forget pianist Taylor Eigsti is also a strong suit. Out today