One pandemic bonus has been a rush of solo acoustic guitar recordings, not least from explorers like Gwenifer Raymond. Stevens is better known for his collaborative work with Esperanza Spalding and Terri Lyne Carrington, let alone his In Common Collective. But Pittsburgh is a most singular project, all the more remarkable as it was recorded as Stevens recovered from a broken elbow.

With no overdubs and performed entirely on a steel strung, small bodied Martin 00-17, Stevens plays with intensity and an abalone bright tone, whether it be on the tempo shifting outness of ‘Ambler’ or the cascading runs on the more lyrical ‘Purpose of a Machine’. There’s no doubting his technical facility: there’s an almost industrial precision to the spiralling runs of ‘Can Am’, that vortex about as though you’re caught in a sonic Escher print.

There are moments of warmth: ‘Foreign Ghosts’ has intimations of Frisell’s Americana stylings, while despite the title ‘Blue Blues’ is an arpeggiated joy. At times it feels a little too controlled, too focussed on the technical adroitness; you wish for a little of, for example, Raymond’s rawness and sweet surprise.

But overall Pittsburgh is a powerful statement of the glories to be wrung from one small guitar and one big talent.