Warren’s love affair with Brazilian music, most notably in his association with Hermeto Pascoal, hardly needs re-affirming here. But Choro, Choro, Choro is perhaps his most personal and celebratory release yet in the domain he so cherishes.

Although choros are generally instrumental pieces for a band, Warren has chosen solo piano interpretations from composers at the root of the music (Ernesto Nazareth songbooks end the album) up to contemporary composers like Warren’s beloved Pascoal. And Warren contributes two of his own compositions, a joyful dedication to Pascoal (‘Chorinho for Hermeto’) and the urgently dark ‘Desequilibrado’, which tips and yaws like a storm-tossed barque, but never quite loses balance.

Choros are essentially dance songs – Nazareth was fusing polkas, African rhythms, waltzes, tangoes and ragtime from the late 1880s – but in their use of counterpoint they also smuggle darker themes into the ostensibly cheery melody. So ‘Choro pro Ze’ mixes romance with desolation, ‘Agradecendo’ is to die for lush, and even what may be thought of as throw away chirpy, ‘Intocavel’, ends with chords that clash by night. Epic on solo piano, we can only wait in happy expectation for the enlarged touring band, featuring Tori Freestone on flute.