The London-based Brazilian has been one of the most interesting additions to the British music scene in recent years, primarily because his skill as a percussionist is not restricted to sharp timekeeping. A musician who also builds his own instruments, Adewale is greatly interested in sound colour, and it is the wide timbral range of this new set, a worthy successor to his 2008 debut Sementes, that catches the ear. The artful contrast of low register, felt-like calabash and pinging, high pitched bongos, triangle and agogo is a recurrent feature, as is Adewale's adaptation of Afro-Brazilian folk elements for his own serpentine, multi-layered compositions. A crack band playing instruments that are capable of a kind of feminine grace as well as masculine brawn – soprano sax and several wood flutes – also works well, and although the focus is inevitably on the leader as a star purveyor of polyrhythms, Adewale proves on a piece such as ‘River Rocks’ that he can write highly atmospheric music with broad brush strokes. The combination of the gentle glissando of the kora, discreet curl of the double bass and hovering strings is inspired, with the quiet, tightly gripped intensity in the ensemble work building to a heady climax. Although it is appropriate to place Adewale in the lineage of his great compatriots who are percussionist-composers – think Airto Moreira, Dom Um Romao and Nana Vascoceles – the other figure who is an instructive reference is Trilok Gurtu for the idiomatic breadth of this work. A substantial talent comes impressively of age.