Jazz-as-chamber-music has its share of critics who demand more full-blooded, wholesome fare, but as a collective genre there is much fine work to look back on to commend it. This album – the second by this group following Quiver from 2012 – totters on the divide between the latter and the former. Frisell has a powerful musical personality that he has difficulty keeping in check with an approach that, maybe because of early critical success, has ubsequently become heavily stylised. Early on in his career his willful eclecticism suggested a fresh approach to his instrument but this has given way to a mix of the cute and the folksy, the latter a feature of later recordings under his own name. Miles is the inveterate storyteller, but the context which he has chosen to present his music – compositions that draw on his religious sensibilities mixing gospel with American folk under the rubric of contemporary jazz – strain for effect. On longer pieces such as ‘Two Kinds of Blues’ (9 min 41secs), ‘Dancing Close and Slow’ (8 min 50secs) and ‘Comma’ (9min 7secs), a feeling of virtuous boredom descends. You feel it should be good for you, but like a certain well known brassica your parents made you eat as a child because it was good for you, you yearn for more digestible fare.