A harsh critic might say that Wallace Roney is living in the long shadow of Miles Davis. A fairer one might say that the fortysomething Philadelphian is a fine trumpeter, though his recent albums haven't helped him counter accusations of derivative tactics. No Room For Argument and Prototype tap into Davis' influential early-70s jazz-rock period, updating the template with in-the-now electronics, with mixed results. The presence of turntablist Steve Brown and keyboardist Ottawan Ortez in a sextet that also has Roney's brother Antoine on saxophones makes it clear that the trumpeter is still in that mode. Superfly shades make the Miles connection sartorial as well as musical.

Throughout the evening the band play long, charged, undulating cookers. Double-bassist Rashawn Carter and drummer Eric Allen marshal a brick-hard backbeat that they groove emphatically, chomping like pitbulls before opening up the rhythm to a driving swing pulse. The dogs are then let off the leash. In the frontline, the Roneys dart into extended solos. Wallace has a rich, full-bodied tone that he controls superbly, keeping tight on the beat and conjoining Freddie Hubbard and Miles Davis in his lexicon.

As engagingly upbeat as their energy is, there's an imbalance in the ensemble sound. Ortez's keyboard colours aren't sufficiently expansive, and Brown's scratching is frustratingly drowned out. Despite these shortcomings, the elastic arrangements that stretch funk into freebop are handled with impressive skill. Moreover, Wallace stops the show with a smart sleight of hand: a reprise of Sly Stone's Stand in which he takes pleasing liberties with melody and refrain. The result is a gothic gospel stomp. Miles may have liked it. And he may not have played it that way.