In keeping with its inspiration Eduardo Paolozzi, Martin Kershaw has produced a work of remarkable variety that has repaid handsomely both the time the saxophonist has devoted to its creation and the Scottish Arts Council�s investment.

Star rating ****
In keeping with its inspiration Eduardo Paolozzi, Martin Kershaw has produced a work of remarkable variety that has repaid handsomely both the time the saxophonist has devoted to its creation and the Scottish Arts Council's investment.

Just as Paolozzi worked in all manner of visual art media, so Kershaw responded with interpretations that included the McFall's Electric Strings, with violin, viola and cello trio producing delicately hypnotic pizzicato patterns on their electronic instruments, and the cacophony giving way to long-noted grandeur that introduced the 10-piece orchestra of brass, strings and rhythm section.

Kershaw is best known for his work in jazz. But while certain elements spoke of a jazz background - not least trumpeter Ryan Quigley's exuberant, wah wah-muted wailing and a fine baritone saxophone intro from Bill Fleming - the greater part of these 10-pieces indicated a genuine attempt to find a new large-scale compositional voice.

The use of instrumental colour was especially effective, as were the switches in mood from bold, sparse strokes to highly involved lines and the deployment of Paul Harrison's impishly berserk keyboard, probing against a quiet drum beat and plangent ensemble chords in Wittgenstein at Cassino.

What Kershaw achieved above all, though, and not every new work does this, was the calling-back effect. Hero as a Riddle is due to be recorded in the new year and it'll be good to be reacquainted with all of the above plus His Majesty the Wheel's swelling trumpet figures and the title piece's compelling undercurrents.