Matt Booth is perhaps best known in New Orleans as a member of the exceptional ensemble simply called Extended. Leading his own group on Sun Prints, the bassist and composer, who now resides in Durham, North Carolina, gathered like-minded musicians — pianist Oscar Rossignoli, trumpeter Steve Lands, drummer Peter Varnado and saxophonist Sam Taylor (now living in Chicago) — who have contributed in making this city’s jazz scene thrive.

Booth  switches on some tunes from his main axe, the upright bass, to electric bass, heard on the album’s opening cut, “In Tongues.” His sound and pulse certainly catches one’s immediate attention. Lands’ bright trumpet enters followed by the always elegant piano of Rossignoli. Lands and Taylor trade bars, come together and take it out encouraged by drummer Varnado’s persistent drive.

Though Booth’s presence on bass is solid throughout, his vision for Sun Prints is most clearly realized in his compositions that completely fill the album. The selections, all from his pen, vary greatly stylistically, rhythmically and emotionally while some rely on strong melodies, others not so much.

The tunes move seamlessly from lovely ballads like “Ice Bear” and “Otero Canyon,” made wistful by Taylor’s breathy tenor to the lively fun of the Latin-tinged “Time to Spare.” Yes, this talented ensemble also knows how to swing, with Booth providing classic walking acoustic bass on “Old News.” The leader also takes a rare solo where on most cuts he stands as, well, one of the gifted, hip crew. Talk about a change of pace: the compelling “Optimal Chunks” goes electric with devices and Rossignoli moving to keyboards.

On Sun Prints, Matt Booth‘s approach to instinctual composing celebrates jazz music’s embrace of and propensity for diversity.