British trumpeter and flugelhornist Loz Speyer says his new compositions come from "the far side of jazz". But his home ground is more in the Ornette Coleman tradition than it sounds.His guides are the spontaneously contrapuntal, quick-reaction ensemble music of Coleman himself, and latterly Dave Holland, and he has been touring his new repertoire for Jazz Services with a suitably alert quartet.

The Coleman connection is most audible in Speyer's conversations with the young saxophonist Finn Peters, though Peters is closer to the dry, methodically deliberate approach of 50s Cool School saxists like Lee Konitz than he is to Coleman's effusive waywardness. But a bubbly Coleman/Don Cherry eloquence is often suggested by these two together, and Speyer's bright, vigorous and accent-packed pieces provide fitting springboards for the dialogue. Seb Rochford's drumming, full of understated power and springy offbeats, and Julie Walkington's firm, Charlie Haden-derived bass playing does the rest.

Speyer's sophisticated and harmonically intriguing pieces sometimes suggest that his head is sometimes more demanding than his technique can reach. If the music occasionally faltered, it was in a spontaneous solo drive. But the flaring brass figures and insinuating sax lines drawn from playing in a Havana park, the elegant parabolas of a reworking of Holland's Four Winds and the sly evolution of a stuttery, percussive brass melody into a soft mid-tempo swinger over Rochford's delicious propulsion provided plenty of indications that a Speyer recording would be well worth waiting for.