Russell’s recent US releases have her heartfelt vocal stylings cushioned by a small band. Having lately played Ronnie Scott’s and scored a considerable success, she was backed there by a trio. Here, though, it’s just a party for two. That said, young pianist Mason shares Russell’s willingness to delve into the lost days of Harlem jazz and more than justifies his equal billing on this alluring mix of old and (nearly) new material.

Even as Russell shows her unerring command of lilting, old-time swing with ‘A Porter’s Love Song To A Chambermaid’, a James P Johnson composition from a 1931 African American revue, Mason exulting in his stride piano role, she moves on to handle a pair of Ray Charles hits with the kind of direct, soulful attack that echoes the likes of Ruth Brown and Dinah Washington. Then again she copes well with a straight ballad, Mason again spot on in both accompaniment and solo.

Russell is a once-in-a-lifetime artist, bridging as she does the music of her distinguished parents' era (both were luminaries of the Harlem scene) and the more everyday work of today. There really is no one quite like her. Perfect diction, proper emphasis, nothing contrived, and an unwavering, fervent command of her material in all its variety (there are 11 songs on the album), Mason instrumentally savvy throughout.