This is Margossian’s second album, following on from her critically acclaimed debut Transition from 2018. There has been just one change in personnel since then, bassist Jacques Emery in for Elsen Price, and during the intervening three years there is strong evidence of artistic growth in her compositional approach, and a more assured ensemble cohesion, with everyone seemingly at one with Margossian’s compositions and the instrumental demands they impose.

Vandegraff, for example, on soprano sax, now captures the melismatic tone bending we associate with Middle Eastern vocal sounds with greater assurance and conviction and as a lead voice, lends greater authority and authenticity to Margossian’s music. It’s an example of jazz going from the global to a hybridised local that is occurring around the globe, a series of unique encounters that are each culturally specific.

In Margossian’s case, born of Armenian parents and raised in Beirut, she produces a highly original and authentic approach drawing on two cultures that. are close to her. The longer tracks on this album – the title track, ‘Gratitude’ and ‘The Good That Exists’ – are an exposition of this style, and spread over a broader canvass each soloist respects the composer’s intent in a way that produces a series of aesthetically pleasing and emotionally powerful performances.