Like many baritone players, Foster seems able to fit into any number of different situations. I've seen him with the Humphrey Lyttelton band and even caught him once playing bass saxophone with one of Laura Jurd's ensembles. Wherever and whenever I've heard Foster, his playing has always seemed balanced and unhistrionic; there's a logic to his solos and it's that quality that's well represented here on this seven-part programme of his own compositions. ‘Quinta Quinta’ has an unhurried air, Foster's ripe, deep sound bringing Mulligan's to mind without ever hinting at pastiche, Ashworth's solo similarly thoughtful and apposite, Maillot and Farmer aiding and abetting perfectly. ‘May Daze’ has a pleasing groove, Foster's range of ideas matched by Ashworth, another player who never seems flustered or short of an idea. He swings, too. ‘For Astor’, with its tango rhythm, elicits Django-like facility from Ashworth alongside Foster's quite beautiful alto improvisation. Never guttural or coarse, Foster's baritone soars over the Farmer's fine lines and Maillot's neat interjections on the jaunty ‘Feverish’, while the elegiac ‘Sea Change, is a feature for his soprano, again pure-toned and centred. Consider this album as a compendium of delights: each player at ease and intent. The Vortex audience clearly loved it all, as did this reviewer. A racing certainty for my ‘Top Ten of 2020’ list.