The principal attraction of this collection of works by composer Gary Carpenter for devotees of jazz and orchestral music alike is probably ‘SET’, a concerto for tenor saxophone and orchestra, written with Iain Ballamy in mind. Carpenter explains the title in the liner notes: “[it] was chosen to reflect the jazz convention where a performer plays a group of pieces referred to as a ‘set’. ‘Set’ is also an alternative term for a 12-tone row, the bedrock of formal atonality.” As the composer points out, there's a paradox here: “the jazz ‘set’ involves improvisation and is synonymous with freedom, while ‘set’ in my world is perceived as being rigid, fixed.” And it's a musical contradiction that's explored delightfully in Ballamy's improvisatory elaborations of the lush, rhythmically crunchy soundworld created for him by Carpenter, who claims an inspiration from 1950s TV. The Ballamy-less pieces here – ‘Fred and Ginger’, ‘Willie Stock’, ‘Love's Eternity’, ‘Dadaville’ – explore other modes and sources (the verse of Elizabeth Barrett Browning, Schumann, Max Ernst) with equal panache, if less improvisatory zeal.