Neon is the latest collaboration by the venerable British saxophonist Stan Sulzmann. Now approaching sixty Sulzmann should really be considered something of a national treasure, sadly though his work is far too often overlooked.

However this album should go some way to redressing the balance. Sulzmann is teamed here with two of the rising stars of the UK jazz firmament in the form of pianist Gwilym Simcock and the multi-instrumentalist Jim Hart, who appears here on vibes and marimba.

The music is a good deal more full blooded than the instrumentation, with its echoes of “chamber jazz” might suggest. There is a percussive quality to the playing of both Hart and Simcock that helps to keep the music fresh and vital. These qualities, allied to Sulzmann’s gorgeous tone ensure that the trio never runs the risk of becoming becalmed. For a band without bass and drums Neon generate a remarkable amount of energy. This wonderfully inventive music is full of lightning twists and turns, odd meters and sparkling playing which all serve to keep the listener on the edge of their seat. There is a strong spirit of group interaction alongside dazzling solos from all three protagonists. These three musicians clearly enjoy playing together; there is an air of playfulness and an impish sense of fun to go alongside their undoubted technique.

The all original programme features colourful writing from all three members of the group. As befits the leader of the trio Sulzmann takes the bulk of the composing credits with five tunes, Simcock weighs in with a brace of back to back compositions and there is one contribution from Hart.

Sulzmann’s “Chu Chu” is a spirited opener and sets the standard for the album as a whole. There are sparkling contributions from both Simcock and Hart, the latter flitting between vibraphone and marimba. Teamed with the leader’s masterful tenor this gets the album off to an invigorating start.

Hart’s “Deviation” is nearly as fine with some wonderful dialogue between him and Simcock. Hart is an exuberant player with a phenomenal four-mallet technique. There are moments on the album when the interplay between the two youngsters sounds like a supercharged UK version of Burton and Corea.

Sulzmann’s lengthy title track has an almost cinematic quality, switching between ruminative ECM style balladry and dazzling high-energy exchanges.

Simcock’s attractive theme “Spring Step” features Sulzmann’s mercurial soprano alongside the composer’s neo classical flourishes. The following “Exciting Eyes” is equally diverse and engaging.

The album’s closing track is distinct from all that has gone before. “Sweets”, a dedication to Sulzmann’s wife Sarah, finds the composer overdubbing himself on a variety of flutes (concert, alto and bass) in addition to his usual tenor. Similarly, Simcock appears on both French horn and piano. The velvety textures and stately, elegaic playing make this a delightful way to close off this album and perhaps hint at other musical areas for this talented trio to explore.

Like Acoustic Triangle, of which Simcock is also a member, Neon are attempting to reach beyond the usual jazz demographic by playing concerts in venues not normally associated with jazz such as churches etc. Neon’s music may cross boundaries but it is also splendid jazz. Highly recommended. 

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