Harrison has the urge within to ever explore; his releases have put music of all kinds under the spotlight, from George Harrison to Paul Motian. But he’d parked his country-meets-jazz Free Country project after two releases. However, fans and Rich Zirinsky, until his untimely death, revived the project. The concept is simple: classic country and Appalachian music contextualised in jazz voicings and instrumentation. There’s nothing shoe-horned together about this: jazz, country and the blues are, afterall, the great original American art forms, and their roots are deep and shared. You only have to hear Alecia Chakour’s brimming vocal on ‘Ring of Fire’ and you know both Cash and Coltrane would nod their approval. Another vocal killer is ‘900 Miles’, with Harrison’s dobro delirious behind the vox. Angels haunt the project, with the title song summoning how ‘sweet’ and ‘gentle’ can be ‘strong’ and ‘sustaining’. Anger and conflict are short term fixes, if indeed they are fixes at all. It’s rather fab that Harrison isn’t a showboatin’ virtuoso, because his concentration is always on the music, the band and the listener; his own contributions are apposite, like his steel guitar on the choker ‘My Epitaph’, but it’s the songs and the unity of the musicians, the unity of these disparate musics, that keeps us angelically entranced.