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So where do you time travel to? Let’s think. Fifty Second Street in its heyday; the Little Theatre club towards the end of the 1960s, perhaps. Or Kansas City, when Charlie Parker was in Jay McShann’s band. Or do you wish to, instead, flip a switch to ‘divert’, and shuttle forward? Now there’s a thought. Dave Douglas’ latest, Time Travel (**** recommended), has a “businessman’s bounce”, which might raise a few eyebrows. That’s hard bop swing essentially, a phrase the Dizzy Reece and Tubby Hayes record producer and writer Tony Hall sometimes talks knowledgeably about when he hears the sound. If you’re in a jazz club a tune such as opener ‘Bridge to Nowhere’, at least the section before Matt Mitchell’s piano solo, though, would bounce sense into any executive.

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"I was really interested in what David Toomey wrote in his book The New Time Travelers. How the concept of time travel has been around a long time, and how it is evident in the way we think and the way we create: backwards, forwards, all directions at once, beyond the speed of light, rearranging our understanding of cause and effect." 
- Dave Douglas

Jon Irabagon’s tenor saxophone solo might make the exec dwell by the bandstand to listen a bit, and you know the suited-and-booted might just think: 9-5 is for losers. But don’t hold your breath.

In terms of Douglas’ output, think The Infinite a bit, but there’s no Fender Rhodes. Or the band with Donny McCaslin, the saxophonist who will appear at the Cheltenham Jazz Festival inside the quintet for the spatown exclusive show on 4 May. Linda Oh on bass reminds me a little of Ben Williams’ style when he was with Terence Blanchard, and this quintet compares strongly to Blanchard’s latest aggregation, although the way the News Orleansian leaves space for Brice Winston is different to Douglas’ approach to harmonising with Irabagon. Both approaches share that salt; and swagger. Time Travel is almost the same band as Be Still but it’s without a singer, although vocalist Heather Masse (not Aoife O’Donovan who’s on Be Still), will join the quintet in Cheltenham with quintet changes as well as saxophone applying also to drums.

‘Law of Historical Memory’ has a superbly ominous atmosphere courtesy of Mitchell, and then some admirably sour horn lines accentuated by drummer Rudy Royston that allow plenty of deliberately uneasy modulating for mood purposes. ‘Beware of Doug’ opens like something out of the Treme soundtrack, while ‘Little Feet’ is where Douglas can ‘speak’ to us listeners with that personal sound of his. ‘Garden State’ referring to New Jersey has a jauntiness again that recalls Tony’s thing about the “businessman bounce”, although, thinking of another Tony with New Jersey connections who’s not a vocalist: it’s none of my business! Finally, the album to be released by Greenleaf in April flutters to a halt with ‘The Pigeon and the Pie’, and in these 10 minutes Douglas, who turns 50 a fortnight on Sunday, traces his influences back to Kenny Wheeler and beyond, but the direction is also forward. SG   

Dave Douglas, above

Listen to the title track via this link to NTS jazz show Babel Babble http://shar.es/jBslz