Sometimes a record doesn't smack you across the head on the first listen but at some point — maybe that 3rd or 4th listen — it hits you: "Damn! This is some well made, well played music!" That's how it was with me for Joel Frahm's new release, We Used To Dance.

Frahm isn't a guy who isn't writing a new chapter in the long, storied history of jazz, nor does he seem to set out to do that. But mainline, middle of the road post bop jazz is a always a sublime experience to listen to when it's executed as well as it is as it is here.

Frahm is part of a newer generation of tenorists to come out of the Big Apple that's currently ruling the jazz scene there, like Chris Potter. However, he doesn't seem to enjoy the wide recognition out of the NYC area that Potter does. We Used To Dance may very well change that.

Frahm's style falls somewhere between Joe Lovano and Wayne Shorter, which is a very nice style to have. Other times you can make out classic-era Rollins and occasionally some of his solo flights recalls the late, great Michael Brecker. But Frahm absorbs all these influences into his own warm, polished tone.

It's not all that blatant, but there's also a little Stan Getz somewhere in there, as well. The Getz connection is strengthened by the fact that Frahm's rhythm section for this session was one of Getz's last great ones: Kenny Barron (piano), Rufus Reid (bass) and Victor Lewis (drums).

Barron, a brilliant pianist who could elevate anyone's record, was one of Frahm's teachers at Rutgers University. From him Frahm most likely learned how to swing so effortlessly and smoothly through chord changes, as Barron can do like no other.

Reid and Lewis are similarly long time top-tiered players on jazz scene. In spite of all this juice backing up Frahm, each of them are the consummate professionals; keeping the leader up front, looking good and not threatening to overtake him. Make no mistake, it's Frahm's show all the way.

We Used To Dance doesn't go for an overall theme; Frahm mixes tempo, styles (within bop) and originals with covers. He's used this occasion to showcase his own composing pen up against more established ones and more than holds his own. And he does it by using a good amount of both breadth and depth.