The sleeve note opens with a rumination on the joys of meandering that takes in Kansas City, copyright laws and improvisation – why do lyricists get paid royalties for jazz instrumental covers? – and the pleasures of listening to the opening track.

Coming in at 51’37, the same length as Richard Strauss's ‘An Alpine Symphony’, ‘On (Or About)’ twists and turns, alters shape, slowly burns and on its way, loops through three songbook standards.

And remarkably for a live festival recording, the sax/organ/drum trio never once loses its grip.

Meandering, maybe, but here it's a journey that delivers pleasure in the detail and moments of surprise.

The performance opens with an unfolding rumble of organ pedals and a hiss of cymbals. Fragments of Hammond melody emerge, and then dense chords and hints of swing. It takes nearly five minutes before a quiet press roll sets up Eskelin's first phrase, an extended poised note that tails off at a slant.

Eskelin's sound has an airy edge that harks back to Lester Young, and like organist Gary Versace, the saxophonist toys with texture and conjures melodies on tap. The piece ebbs, flows and undulates through a tense and spacious solo for drummer Gerry Hemingway, sensuous and sensitive interplay and an unaccompanied spot for lyrical and gently phonic tenor sax. Mid-point, the trio settle on ‘Blue and Sentimental’ and conjure the great Ike Quebec's Blue Note album of the same title. They end with a quiet abstraction that slowly fades after a clearly stated ‘East of the Sun’. The set ends with a pulled apart ‘We See’ and a romantic ‘I Don't Stand a Ghost of Chance with You’. As before, strong emotions avoid obvious extremes, the pace is unhurried but never lazy, and the trio improvise freely and expose deep roots in the jazz tradition.