In a remarkably short period of time, this young quintet has established itself as one of the most unique and consistently compelling modern jazz units in New Orleans. Far from slipping into a sophomore slump, this second release shows that they’ve skipped to the head of the class and graduated early.

Blues By 5, like their debut record, contains all originals contributed in turn by each band member, but these ten new tunes exhibit a higher level of skill, profundity and grooving intensity. The wonderfully raw, hungry quality that permeated the first record is tempered by a new degree of maturity and poise, allowing them to more gracefully explore the wide range of styles and ideas that is their passion.

This record also provides a showcase for their current lineup, since trumpeter Mark Rapp left last fall for New York and has been replaced by guitarist Brian Seeger (who was already affiliated with the group as a producer and frequent guest player). The group’s texture is greatly enhanced by Seeger’s rich and versatile guitar sound, especially when he doubles up with Brent Roses’ sax on blistering melodic lines.

The artistic centerpiece here is the stunning 15-minute exploration “India,” written by drummer Mark DiFlorio. A slow, extended drum solo with primordial undertones gradually becomes more intricate and segues into a dreamy, abstract melodic section with piano, flute and an eerie, slack-key sounding guitar. Spacey synth-organ effects compliment a prayer-like arco bass feature by Brady Kish, then the song shifts into a more aggressive swing section with burning improvisations from guitar, sax and drums—this time DiFlorio goes in the other direction, from complex to primitive—and the song resolves with a restatement of the dreamy, abstract section.

“Saga, not raga”—that’s how Tim Green, who produced this record (also a prominent local sax veteran), describes “India” in his superb “free association” liner notes. The track is lush and cinematic in scope, effectively evoking a journey through a mysterious world, and it offers a glimpse into the wild excursions this band is capable of embarking on in live settings.

Many of the other tunes are more groove oriented, such as the funky opener “Reality Check” and “Jacanabac,” featuring soulful work on the B-3 organ by keyboardist Charlie Dennard. Dennard also plays B-3 on “Leap Year Stomp,” a romping street parade tune with a second line groove (complete with tambourine for Mardi Gras Indian feel) reminiscent of Memphis soul and early instrumental Meters. The title track swings sublimely in 5/4 time with a loping shuffle groove similar to Brubeck’s “Take Five,” while Dennard’s bluesy work on acoustic piano at times suggests Les McCann. The hidden last track, “African Violets,” is a short, poignant closer, another gem from the pen of DiFlorio.

Clearly, Quintology is determined to achieve greatness. Blues By 5 suggests that they are destined for it.