The ‘Ghost’, perhaps, is Billy Jenkins the guitar man, as the six strings have been laid to rest. Instead, Jenkins has returned to the unforgiving 88 black-and-white keys which he last explored on his Piano Sketches 1973-1984. Explore may be too aggressive a word. Jenkins doesn't so much play as breathe the piano. Indeed, so intimate is this session Jenkins' own breath is sonically woven between the dying fall of each suspended note, each broken chord. Even the studio cat can be heard taking in a lungful, reminding us of how birdsong sighs into Jenkins' last outing, the not dissimilar in mood and tone, Death, Ritual and Resonation. Most of the songs here certainly resonate, with Jenkins' use of the sustain pedal eeking out each decaying note into an eerie nothingness, as on ‘Self Sleepless Beds’. But not every meditation is a single note musing; ‘Footless Shoes’ is haunted by a Monkish theme (like Monk, Jenkins can't help a sly grin, even at his darkest), while ‘Self Talk Phones’ deploys chords and harmonic overtones (and intakes of air) to build a universe from a grain of a tune. One could muse on musical associations: Chopin's preludes, Morton Feldman and Marty Feldman, shades of Messiaen, Mingus' solo piano meditations, but Ghost Music is simply all Jenkins. Well, except for Patsy the cat.