When drummer/composer Johnathan Blake released 2021's Homeward Bound, his debut for Blue Note, he showcased a quintet he'd been working the road with. Its lineup -- bassist Dezron Douglas, vibraphonist Joel Ross, pianist David Virelles, and alto saxophonist Immanuel Wilkins -- delivered an eight-song set that tastefully showcased the canny communicative strengths of the ensemble. Three years on and seasoned by dozens of gigs, Passage contains five compositions by Blake, two by Douglas, and one by Virelles, along with tunes by the late violinist John Blake, Jr. -- the drummer's father -- and late mentor/drummer/composer Ralph Peterson, Jr. The set is dedicated to them. Blake's playing and composing signatures differ from most drummers, which is presumably why he made such a great addition to the Mingus Big Band, Q-Tip, and Dr. Lonnie Smith. Opener "Lament for Lo" is a minute-long tom-tom solo played with mallets; it's an incantation dedicated to the memory of drummer Lawrence "Lo" Leathers. At just under ten minutes, "The Passage" is a shining example of this group firing on all cylinders. Composed by Blake's father, it has a rippling, post-bop modal theme with a harmonic questions-and-answers dialogue between piano and vibes under Wilkins' labyrinthine solo. It's followed by the equally lengthy "Muna and John's Playtime" (titled after his children), and draws equally on South African township and gospel music, contemporary jazz, and post-bop. Virelles' pianism and his lyric synth play bridge all the instruments. Blake and Ross add mysterious fills, accents, extrapolated harmonies, and breaks. Wilkins and Virelles answer by trading compelling solos. "Tiempos" is one of the set's more intriguing tunes, with elements of a wedding tango, Cuban danzon, son, and blues illustrated by the piano trio. Its elegance, humor, and grace rival Pentad's for subtlety. With its crisscrossing theme, syncopated rhythms, and intertwining harmonic dialogue between piano and vibraphone, Wilkins has to eventually join with his own break. Peterson's "Tears I Cannot Hide" is a ballad. The dovetailed lines played by Ross and Wilkins flow into one another then overlap with contrasting lead voices. Virelles' Rhodes piano adds additional textural and tonal variation, extending the tune's reach. Douglas' quirky "A Slight Taste" cuts across hip-hop, jazz-funk, blues, and fusion. Virelles adorns the push-and-pull dancing rhythms with Rhodes and MiniMoog, as Ross and Wilkins wind around one another, reaching further into their exchanges before Blake drops a brief, mesmerizing, soulful solo. Closer "W. Berkley St." is a lithe, fingerpopping post-bop number with South African jazz and gospel overtones under its sun-drenched melody. As Blake adds easy-grooving breaks and accents, Virelles traces the harmony while making it swing with a subtle Afro-Latin groove. Wilkins rolls up and down the alto horn alongside them. Passage also goes a bit further than its predecessor due to the more mature, intimate communication between these players as they confidently articulate Blake's music. ~ Thom Jurek