You have to love Geoff Eales, not simply for his fabulous keys and compositional skills but the utter passion of his vision. Love Sacred and Profane is his masterwork, referencing every thing from Debussy to Purim-era Return to Forever, showtime balladry to the works of another musical visionary, Hildegard von Bingen, the Sybil of the Rhine.

As the title suggests this is Eales, like a Welsh Ovid, meditating on the mysteries of love in all its forms, earthly and heavenly. But love can also mean loss, because Tina May was meant to appear here, but sadly died before recording her contribution.

But other voices abound. As with Eales’ previous Transience, Beraha is a vital voice across the composition, notably book ending the work with her wordless invitation on ‘Prologue’ or closing it over Eales’ elegaic keys on the ‘Epilogue’. Brenda Ford, stepping into May’s shoes, is a filthily witchy Salome (Oscar W would approve) while Jacqui Hicks can move between yearning soul and Lloyd Webber showbizzery. And with his years in the business, Eales can call on just the right instrumentalist to fit his vision: who other than Mark Lockheart, with his own sacred music experience, could bring transcendance to ‘Virtus Sapiente’ (again with the other worldly Beraha), while the splenetic Yarde is perfect for ‘Frazzled’ (catch him live if you can trading licks with Alloway). Eales of course also writes poetry so the lyrics have their own dramatic edge; okay, a little on the nose sometimes but that comes from Eales’ rage against constraint, his ecstatic chutzpah. Highly enjoyable, highly dramatic: you can’t help but love it, which ever way your love lies.