don't receive the same level of intense media hype as their peers on England's jazz scene. Perhaps it's because they're an acoustic quartet, or that they've been releasing records since 2007 ( and played on their eponymous debut), or that they don't fit the fusion or nu-jazz profiles, either. are a post-bop powerhouse playing high impact, progressive jazz that often crosses the avant-garde border, in original, straight-ahead jazz. is the quartet's debut on 's after five previous long players -- the latest in 2016 -- and a pair of later, self-released EPs. The quartet -- on alto saxophone; on vibraphone; on double bass, and on drums -- are joined by veteran pianist ( , ) on all but one cut, and rising British tenor saxophone star on three tracks. "The Naitoku," one of five tunes by , opens the set and features and both saxophonists. The title refers to a beginning student's practice of Buddhism and those who support them (sanga). Vibes, droning bass, and rumbling tom-toms introduce the tune. joins with rubato dark chords, before drums and saxophones articulate the theme; first tenor, then alto. 's vibes paint the backdrop, giving more room to bridge the saxophonists' solos. With its shifting tempos and modes, the tune is a labyrinth with a circular rhythmic signature and perfect at just under eight minutes. The ballad "True Cost" offers the sextet delivering a gorgeous ballad. uses pedals on his vibes, creating a flowing sense of reverb in his interplay with , and . After a gauzy intro, leads the pianist into a bluesy exchange with 's tenor. "She Moves," composed by , commences as a ballad before swinging out in midtempo with the post-bop blues. "Saha World" walks the tightrope between abstraction, vanguard balladry, and harmonic invention with killer work from ; their conversation is subtle yet captivating and rangey. "As the Eagle Flies" is a vanguard exercise in modalism with carefully constructed cadences and accents. stagger crescendos and accents in pursuing the elusive melody. Closer "Wonder Is the Feeling" is delivered in stretched-out waltz time. It balances contrasting harmonies from the pianist, vibraphonist, and altoist. They continually return to the assonant swinging chorus anchored by . 's solo is knotty, lyrical, and nearly transcendent, while 's blocky expressionist chords, fills, and intervallic vamps provide the formidable rhythm section a foil. It would have been great to get a longer album after eight years, but one can't complain about the depth and vision of the music on . Given its intense focus, ambition, and elegant taste, the album's reception should translate into global awareness for and their poignant, resonant, always innovative, progressive post-bop. ~ Thom Jurek