There’s something monumental about Tomorrow’s Journey, alto saxophonist David Binney’s first acoustic jazz release after a series of pandemic-spurred ambient electronic projects. Having put in decades as a pacesetter on the New York scene, the prolific Binney returned to Southern California, where he’d spent his youth, forging new alliances with a batch of extraordinary younger players based there. Tomorrow’s Journey reveals just how much they’ve inspired him: The performances and the compositions are astounding in their sheer scope. Binney’s alto playing continues to amaze; his material is greatly involved, yet no less melodic and rhythmically engaging for all its relentless difficulty. In its elaborate detail, it is also highly original: trumpeter Aaron Janik and trombonist Jon Hatamiya add a focused and beautiful brass sheen, while twinned bassists Ethan Moffitt (acoustic) and Logan Kane (acoustic and electric) push Binney’s writing in new directions (one hears them clearly about four minutes into the title track, during a highly unusual out-of-tempo section with church organ and birdcalls). Drummer Benjamin Ring is essential in seeing the band through Binney’s maze of ideas. Luca Mendoza shares piano duties with Paul Cornish and contributes “Casa,” the only track not by Binney (except “Cali Culture,” co-written by Binney and Ambrose Akinmusire). Sexmob drummer Kenny Wollesen, Binney’s longtime NYC collaborator, adds color on percussion and bowed vibraphone.