Mike Gibbs's haunting harmonies have once again been reminding listeners that he has produced some of the richest tapestries made with jazz instruments since Gil Evans's demise in 1988. Gibbs has often been preoccupied with teaching and movie-score work, but since the millennium his band has begun to make regular appearances again - balancing early material, new works and reshaped standards more successfully than it ever has before. But if he now picks up on Broadway and jazz standards like Cole Porter's So In Love, Freddie Hubbard's Crisis or Thelonious Monk's Round Midnight, Gibbs imparts such a distinctive spin to all of them that they come to sound like originals that just happen to have a tune you think you've heard somewhere before.

Hubbard's emphatic, rifflike Crisis had its harmonies bent into pungent dissonance, suggesting the effect of two keys being deployed at once, before the tune's celebratory resolving chords gave way to glistening trumpet variations from Richard Eiles and Henry Lowther. Alto saxophonist Chris Hunter then let a stream of high double-time figures flood into the room before segueing the music over Hans Koller's fragile piano chords into the ballad So In Love.

You Get The Picture, one of Gibbs's most affecting explorations of shifting harmonies, swelled gradually out of an improvised Stan Sulzmann sax overture - an instance of the leader's fondness for laying chordal and textural undertows that generate at least as much telling melody from the improvisers as Gibbs writes in advance. Round Midnight was the strongest Gil Evans echo, in its deep trombone sighs and dreamy chords.

The raucously exuberant Knees Up brought bristling solos from the saxophonists, and a composition from Gibbs's 1969 recording debut, And On The Third Day, confirmed in its sleepwalking momentum, spine-tingling brass warbles and lazy movement of the sections in and out of the paths of the soloists how early his unique tonal palette was formed.