Mark Sanders’ biog features some hefty names: Wadada Leo Smith, Derek Bailey, Peter Brötzmann, Henry Grimes, Roswell Rudd. Elliott Galvin is catching up: though only born in 1991, he comes garlanded with the Worshipful Company of Musicians’ Silver Award, and won the Gold Medal Competition prize when studying at Trinity Laban. He was also one of 2013's Yamaha Jazz scholars. In his lively liner notes, Steve Beresford describes their convergence as ‘Elvin Jones introducing David Tudor, Sly Stone jamming with Anton Webern’.

Beresford also references two classic piano/drum couplings, first Don Pullen and Milford Graves and then Han Bennink and Misha Mengelberg, and the comparison doesn’t feel too excessive. I don’t know to what extent these five tracks resemble the cloud formations after which they are named. ‘Nimbostratus’ does sound dark and rainy, ‘Cumulonimbus’ dense and stormy. But does ‘Cirrocumulus’ really sound patchy and rippled, or ‘Cirrus’ thin and wispy? Maybe. They’re wonderful pieces, regardless: intuitive, interactive, deeply musical. And ‘Cumulus’ is definitely shaped like a cauliflower.