Seattle-born pianist Aaron Parks wasn’t entirely a newcomer when he first recorded for Blue Note. Invisible Cinema, his 2008 debut for the label, was his fifth album as a leader and its melodic accomplishment marked Parks out as one to watch. With a follow-up, the solo Arborescence, he joined an elite band of musicians who have recorded for both America’s leading jazz label and its European equivalent, ECM. And while he hasn’t become a massive name, Parks has matured into a player with plenty to say but one who likes to travel at his own pace.

By All Means is his third Blue Note outing and expands the trio he first convened in 2017, featuring bassist Ben Street and master drummer Billy Hart, into a quartet with tenor saxophonist Ben Solomon whose CV includes work with trumpeter Wallace Roney and pianist Chick Corea. It’s a perfectly balanced group. Solomon is confident and assertive but content to play at Parks’ pace. The opening ballad, ‘A Way’, illustrates Parks’ talent for a searching melody and Solomon’s ability to express it with tenderness.

If Street and Hart’s roles lean more towards lending colour here, by second track ‘Parks Lope’, they’re swinging gently but with purpose as Parks and Solomon converse, the pianist adding some gospel flavouring. A further ballad, ‘For María José’ (dedicated to Parks’ wife), is suitably romantic without being cloying and features Parks soloing at his most attractively lyrical and expansive. Going back to Invisible Cinema, Parks’ approach has always been to envelop the listener with attractive moods; the waltzing ‘Little River’ and gently surging ‘Raincoat’, with Hart injecting subtle percussive detail alongside Street’s sure presence, achieve this beautifully, adding a vital quality that calls the listener back for more.

By All Means is released  by Blue Note on Friday 7 November; main picture: Isaac Namias.