This, the second album from Artemis following 2020’s eponymous debut, produces a far better realisation of the band – out go Cécile McLorin Salvant, Melissa Aldana and Anat Cohen, replaced by Nicole Grover and Alexa Tarantino to make the ensemble a sextet. While the compositions on their debut album covered a lot of ground it was difficult to perceive the band’s centre of gravity – here it becomes clearer. The opening track, with its intriguing voicing using voice, flute, piano and Fender Rhodes, plus sharply etched melodic material by Lyle Mays suggests momentarily the band had developed a distinctive sound. However, the concept of developing a distinctive Artemis 'sound' is not explored, erring, towards the more familiar trumpet/sax textures, either distantly or closely evocative of earlier Blue Note eras, suggesting a band yet to fully discover themselves. Yet overall, their approach does acknowledge a willingness for solos to respect the context in which they function, rather than the manifestation of technique, which can easily swallow an all-star ensemble. The fate of supergroups always depends on how everyone’s conflicting diaries can be brought into alignment, and if this can be achieved, the future looks bright for an exciting group that promises much.