Here's the ultimate in one-man-enterprise, for Kearsey-Lawson not only played all four instruments for the album, but six of the seven pieces were composed by him, and he recorded, mixed and mastered these multi-tracked performances in his home studio. Pure DIY, you could say.

On closer examination [via a gander at his informative website] it turns out that Mr K-L has quite a pedigree as both a classical and jazz performer, having worked with many UK jazz stars, and is an orchestral composer of some repute, with a distinguished family lineage to boot.

Here, though, we're largely concerned with his vibes playing, with each of his pleasingly MJQ-inclined pieces dedicated to a person or place that matters to him. ‘Buster's Groove’ has a neat motif, the vibes fluent and gratifying in Milt Jackson fashion, piano, bass and drums suitably supportive. ‘Walter's Love’ is another for a pal, and highlights breaks by both drums and bass, the overall mood positively Lewis-like. ‘Morgan's Manor’ has him trading fours with himself, alternating bass, piano and vibes.

This is no self-indulgent gimmick or a mere stunt designed to overcome Covid-19 restrictions, rather an intriguing insight into the mind and playing personality of a clever virtuoso musician. Where his piano work is more mundane, it's the vibes that stand out, these taking wing again on the final track, ‘Roan's Groove’ by the late Duncan Lamont, this having a happily close connection to ‘Bags Groove’ with drums and bass in the limelight too.