For his sixth recording as a leader, renowned Italian bassist-composer Maurizio Rolli pulls together a myriad of influences, from Jaco Pastorius and Michael Brecker to funk, flamenco, bebop, Bach beyond. This stellar quintet outing is an ambitious undertaking that reveals Rolli’s wide-ranging musical tastes and undeniable virtuosity.

One of the most impressive bassists on the international scene, Rolli has showcased his considerable talents in duo, small group and big band settings, often in collaboration with prominent American musicians like guitarists Mike Stern and Hiram Bullock, drummers Danny Gottlieb and Peter Erskine, saxophonists Bob Sheppard, Bob Franceschini and Bob Mintzer, and fellow bassist Michael Manring, who appeared on his 2001 homage to a towering influence, Moodswings — A Tribute to Jaco Pastorius.

Erskine and Mintzer return as special guests on two tracks from Time Machine, which Rolli describes as “this new DeLorean from Back to the Future that looks to the past, yes, but only to take the run-up towards the music of the future.”

The opening track, “JC-14” (dedicated to Dutch soccer player Johan Cruyff), unfolds like a prayer with singer Emanuela Di Benedetto (Rolli’s new muse) blending beautifully with Giulio Gentile’s gentle piano, Gianluca Caporale’s soothing soprano sax and the leader’s bass on the chamber-like intro. The piece then makes a sudden shift at the 1:47 mark into an intense 7/4 jam powered by Erskine’s slamming backbeat with Di Benedetto’s wordless vocals and Caporale’s soprano uniting on some tricky unisons. Rolli’s bass solo on the contemplative middle section is an expressive, lyrical gem reminiscent of Jaco himself. Pianist Gentile and Caporale, on tenor sax, add impassioned solos to elevate the proceedings.

“Basso Piglia Tutto” opens with a Bach-like flurry of two-handed tapping by Rolli. After that jaw-dropping solo bass intro, the piece kicks into a intricate showcase of chops between piano, bass and tenor sax over a rock-ish beat before segueing to a buoyant flamenco flavored section, replete with palmas and Di Benedetto’s wordless vocals doing a dance with Caporale’s clarinet. The singer’s dynamic vocal improvisation as this piece heats up is show-stopping. Rolli follows with a bass solo that is positively Jaco-esque in its facility and fire.

“Bong for Sarri” is a buoyant groove number reminiscent of the Brecker Brothers’ “Song for Barry.” Said Rolli, “It’s my tribute to Michael Brecker, Mike Stern and the late Dean Brown and Hiram Bullock — a group of musicians who marked a certain way of seeing music and my growth as a musician and professional.” Guest Mintzer certainly conjures up memories of Brecker in his powerful tenor work here while the leader’s effected bass solo emulates the uplifting fretboard flights that Stern achieved on “Song for Barry.”

Shifting gears radically, Rolli and crew drift into moody and minimal “Three-Handed,” which touches on Erik Satie (think “Gymnopé dies in a minor key). Di Benedetto’s blending with Caporale’s clarinet lend a haunting beauty to the tune while Rolli anchors with upright bass and drummer Luca Di Muzio underscores with sensitive brushwork.

“Ethra’s Tears” opens with a solo electric bass ostinato before the pieces leaps into some challenging arpeggios reminiscent of Jaco’s tackling of Bach on “Chromatic Fantasy.” Clarinetist Caporale joins with Di Benedetto’s wordless vocals on the intricate unisons before the piece, which is based on an Italian tarantella, opens up to some daring and jazzy exploration by the gifted singer. Caporale follows with a potent, Breckerian tenor solo before the ensemble returns to the playful, chops-busting head.

Their stunningly original balladic treatment John Coltrane’s anthemic “Giant Steps” is a pleasant surprise. Rolli’s fretless bass here sings the melody like Jaco on “A Remark You Made.” The leader, pianist Gentile and tenorist Caporale each follow with heroic solos before returning to the familiar theme doubled by Rolli’s bass and Di Benedetto’s transcendent wordless vocals.

The delicate and mournful “Rain on the Train” is a reflective number that features Rolli on an expressive upright bass solo and Gentile cascading over the keys in elegant fashion. “Problems of Women” is a compelling 6/8 vehicle highlighted by Di Benedetto’s tight unisons with pianist Gentile with Caporale playing a counter melody line on clarinet. Rolli delivers a fantastic, Jaco-inspired electric bass solo here and is followed in turn by brilliant solos from Caporale on clarinet and Gentile on piano.

“Permanent” opens with a droning ostinato before the piece opens up to a series of intricate time shifts, with De Benedetto’s voice and Caporale’s clarinet blending on the uplifting melody. Gentile stretches out on a cascading piano solo over Rolli’s insistent bass groove, revealing some Herbie Hancock-Chick Corea inQluence along the way. Caporale follows with one of his most potent solos of the set, and the leader adds a lyrical fretless bass solo to put a passionate exclamation point on the proceedings. The album closes on a poignant note with “Mia, Love at First Sight,” which opens as a heartfelt lullaby and gradually builds to a grand crescendo with Di Benedetto wailing over the top with passionate abandon, like a diva delivering an operatic aria. At age 60, Rolli has come up with his most adventurous, wide-ranging, reQined and satisfying album to date. The thrills here are endless. — Bill Milkowski