Now largely forgotten, Winifred Atwell was a showbiz phenomenon and amodest, tough pioneer – a Trinidadian immigrant, classically trained boogie-woogie and ragtime pianist, who became the UK’s first black chart-topper with ‘Let’s Have Another Party’ (1954).

Despite selling some 20 million records, her place in the pre-Beatles pop landscape has unfairly reduced her to a footnote, abutting Mrs Mills’ later Essex music-hall/pub piano stride.

This cheery deconstruction of Atwell’s music by Manchester-based pianist Adam Fairhall and drummer Johnny Hunter continues Fairhall’s reclaiming of early jazz piano styles, in a hall of mirrors where ragtime and free jazz mutually morph (see also 2017’s Friendly Ghosts, where Joplin and Waller became avant-garde again). On ‘Roll Out the Barrel (Beer Barrel Polka)’ (the young Queen’s eager encore request in Atwell’s heyday), Fairhall accelerates from slow drag to runaway skitter over the suitcase drums’ stair-tumble shuffle. Cuban Margarita Lecuona’s Les Baxter hit ‘Taboo’ leaves the music hall for a shadowy, stately rumba, turning over nine minutes into Ellingtonian exotica. Hunter’s 2 ½-minute intro, with what sound like hushed mini-tympanis, and Fairhall’s splicing of boogie swagger, pan-African pride and nightclub noir, is as fulsome a tribute as the impacted, hyper-speed ‘Boogie for Atwell’. The music-hall folk of ‘My Old Man (Said Follow the Van)’ sounds as tumbledown as Atwell’s upright piano, where her classical technique met the pub singalong. Amidst the deconstructed thickets, Fairhall too lets the tune’s warm comfort in, in a Caribbean cockney blues.