Despite 2014’s Mother Stump yielding decidedly mixed results, its inspired arrangement of Paul Motian's ‘Folk Song For Rosie’ showed off Harrison's capabilities, a delay-driven doozy, pierced by pointillist breaks positioning themselves like fiery comets in the comforting blanket of night. The late percussionist-composer's influence looms larger still on Spirit House. It's most explicit, naturally, on another Motian cut, ‘Johnny Broken Wings’, where Harrison's spacious runs and swells form the foundation for Cuong Vu's tender, emotive melodies. But the drummer's essence also prevails upon the album's two vocal tracks, where Harrison's wispy, delicate filigrees recall those of Motian's perennial guitarist, Bill Frisell. With a celebratory, soulful Shuggie Otis-like cameo from vocalist Everett Bradley, the poignant hymnal ‘Some Thoughts On Kenny Kirkland’ (a dedication to the late great jazz pianist), lifts on a tumble of deft arpeggios and affecting vibrato, brokering deals between jazz and Americana for a deliciously-realised study in poise and atmospheric balladry. Meanwhile, curtain-closer ‘Look At Where You Are’, finds Harrison himself behind the mic for a hornbuoyed chorus that lingers long in the memory.