When saxophonist Tim Berne released his first ECM album, Snakeoil, in January 2012, it signalled a break with his past. His new acoustic quartet of clarinettist Oscar Noriega, pianist Matt Mitchell plus drummer and vibist Ches Smith � like Berne, all regulars on the New York scene � created music that was more refined and melodic than some of Berne's electric groups. The studio-recorded album, produced by ECM supremo Manfred Eicher himself, was showered with praise by fans and critics; in fact, Snakeoil was so successful that the quartet has now acquired the album title as its own name. More importantly, their second album, Shadow Man, builds on the strengths of its predecessor. All four members are responsible for its success, contributing equally to the sound of the group, each of them being a distinctive stylist capable of stealing the limelight at any moment.

Despite the group's democratic feel, Berne is unquestionably the leader of Snakeoil; leading from the front, his alto is a commanding presence throughout, and he composed five of the six tracks on Shadow Man. As on Snakeoil, there is a mix of short tracks and more extended pieces � this time, three of each. As well as a variety of durations, they manage to balance composed passages with looser free blowing, never relying on the head-solos-reprise archetype. Maybe the album's biggest surprise is the inclusion of a non-Berne composition, namely "Psalm" by the late great Paul Motian, who was drummer on three early Berne albums in the 80's. The briefest track at just over four minutes, it is an understated piano-saxophone duo which focuses on the piece's haunting theme, emphasising its stark beauty; a fitting tribute to a fine musician.

But inevitably, as on Snakeoil, the extended tracks are the beating heart of the album, demanding most attention and providing the greatest excitement. As with Berne's own playing, the longer the group stretches out the better they sound. Their years gigging together have formed them into a tight-knit unit who are well tuned into each other's instincts but never sound regimented or rigid. Together, the four produce a multilayered soundscape that is rich in detail and variety, one which can never be predicted or taken for granted. With Noriega doubling on bass clarinet and Smith on vibraphone, there is always scope to vary that soundscape. On an album that does not contain one average track, the twenty-three minute "Oc/Dc" is a particular highlight, with Berne producing a breathtaking tour-de-force, bursting with energy and ideas, which never flags for a second as it builds to a screaming climax, ably supported by the full group throughout. Shadow Man is compelling evidence that Snakeoil will be a force to be reckoned with for many years to come.,