This album was conceived by Sands (who wrote all the material save for a somewhat abstract version of ‘Good Morning Heartache’) as a voyage of recovery from loss, separation and sadness. And as in LPs of old, the tracks are arranged in a sequence that creates a story-telling narrative. So from the aforementioned standard, via ‘Divergent Journeys’, the first positive ray of hope comes in the upbeat ‘Ain’t That The Same’, with strong, accessible messages from the vibrant guitar of Sewell, as well as Sands himself, playing with the effortless lyrical mastery I remember from hearing him in London. The track also features a fine solo from Nakamura on bass, who Sands acknowledges as having a special bond with his piano work.

The problem with the centre of the record is that ‘Thought Bubbles I’ and ‘Serenade of an Angel’ are inward-looking and – to the objective listener – not very involving. By contrast the band leaps into collective action on ‘MMC’ (named after ‘Mum's Mac and Cola’) and its joyous swagger shows just what brilliant playing this all-star cast can achieve. ‘Thought Bubbles II’ is more accessible than the earlier track and benefits hugely from the fine drumming of Sands’ brother Ryan. The highlight of the album is the closing title track, which sums everything up, with some ravishingly romantic playing from Christian Sands, string quartet backing for the jazz trio, and above it all, the plaintive, wistful harmonica of Maret, who does what he always seems able to achieve – creating something immediately memorable from the sparsest of material.