Critic John Fordham once wrote with appropriately simple elegance of Abdullah Ibrahim that he had the ability to suggest whole orchestras in a single chord. There's something of that in Chris McGregor's work as well. But then he and Ibrahim share a number of influences. There's Ellington, the blues and church music all filtered through marabi and other South African styles. And both are wonderful storytellers, which is what you get here – 13 gorgeous stories of home, of exile, of community, of loss and of connection. Perhaps the ideal place to hear McGregor or Ibrahim – in my fantasy, at least – would be in a church hall playing on a well-tuned but battered old upright. Not that they don't deserve a Steinway, Bösendorfer or Bechstein. Rather their music reflects an immediacy of communication. The closer you are to it, the greater its impact. Hear how McGregor's ‘Kwa Tebugo’ slides into Mongezi Feza's ‘Sonia’ or the marabi-tinctured title track eases into Dudu Pukwana's ‘The Bride’. Listen real carefully and you'll hear the Brotherhood join in on the chorus. Whole orchestras, a single chord calling you home.