One can often expect the unexpected from master bassist James Singleton—although wherever his many musical explorations might take him and whoever his fellow travelers might be, Singleton leaves signature clues to his identity.

Humor can often be found in his compositions, like on the opening tracks of Malabar. “Black Sheep Squared” begins with Singleton alone at the bass setting the tone of the album, when Mike Dillon, the bassist longtime “accomplice,” joins him on vibes. It’s not long before the horns come in and then Rex Gregory offers a little melody on flute that’s reminiscent of an Irish folk tune. A change comes with the entrance of Brad Walker’s hard-bop improvisations on baritone saxophone. It’s a slinky number with Jonathan Freilich’s guitar offering a lullaby as the last “word.”

The title track, “Malabar” stands as a fine companion to its predecessor, though more frantic in nature. Singleton sets the pace, while the drums of Justin Peake take off, flying along with Dillon’s vibes and a sax that’s up to the challenge. The piece becomes almost orchestral towards its finale, enhanced by Singleton’s bowed bass and a chorus of horns.

Things get silly and slinky again on “Monster Clause,” where the humor and an alluded-to impending “danger” can be experienced in the melody and dynamics. The album ends on a warmer note, fully expressed in the richness of Singleton’s bowed bass.

The cast of characters heard on the release—Singleton, bass, trumpet and effects; Dillon, vibes percussion and tabla; Peake, drums and electronic sounds; Gregory, clarinet, bass clarinet, flute and tenor saxophone; Walker, tenor, alto and baritone saxophones; and Freilich, guitar—tells a lot about Malabar and its inventiveness and tenacity.