As much a theatre, given the sweep of narrative and momentousness of the story, piece as anything From the Dancehall To the Battlefield continues the polymath US pianist composer Jason Moran's longstanding interests in the long gone past whether Thelonious Monk at Town Hall or a rip through Fats Waller - this download/streaming formats meditation on early jazz composer James Reese Europe takes us back to the first world war and early jazz coming to Europe at a time of deep segregation and existential strife.

Because Moran is a modernist this is far more interesting than if he wasn't and yet do these labels really matter? When a tune interpreted as a solo piano piece such as Noble Sissle and Eubie Blake's 'All of No Man's Land is Ours' hangs in the air it's just a bloody good melody no matter what your tribe might be, tradster, modernist - neither.

'Russian Rag' and 'Darktown Strutters Ball' with the ensemble whose members include the Bandwagon's Tarus Mateen (the bassist is especially good on 'Castle House Rag') and Nasheet Waits, altoist Logan Richardson (featuring on WC Handy classic 'St Louis Blues') tenorist Brian Settles and tuba player Jose Davila among others, make no mistake, however can sound and probably were designed to be like period pieces.

That has its reasons given the sonic scene setting needed. Certainly most of us will only if at all know Jim Europe's name from the history books. And there are few versions of at least some of the music here full stop. So from that point of view Moran does jazz history a big favour like a detectorist discovering neglected treasure once found but just as often casually disregarded. It's a helluva deeper trawl than your average crate digging.

Moran's own piece 'Drop (Tear)' is very moving and you get that programmatic sense especially on this as if on an eerie pre dawn battlefield as the drums become louder and the horns relay a lament over and over again.

A good sprinkling of WC Handy given the ubiquity of Handy's legacy makes it easier for listeners who aren't really that interested in early 20th century jazz.

As a historical narrative that embraces the solidarity of the Clef Club black musicians union and more From the Dancehall To the Battlefield covers a whole lot - but this really begs to be heard live in a concert hall. The final Moran piece 'For James' is interesting given the tone it sets as a culminating statement - it's full of love, light and soul.

MORE READING AND LISTENING:

• Let My People Go, Jason Moran and Archie Shepp, 2021

• Jason Moran's In My Mind - live review at LSO St Luke's (2008)

Jason Moran, photo: press